program manual - studyco education consultants ...written by susan bramm. arnica environmental...

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. Program Manual

2012-2013

THEATRE PRODUCTION PROGRAM

PROGRAM

©2012 by Grant MacEwan University

All rights reserved.

Grant MacEwan University has attempted to ensure that all copyright clearances have been

obtained. Please bring any omissions to the attention of the University.

No part of this manual may be reproduced by any means, including photocopying, without the

permission of the University.

Written by Susan Bramm. ARNICA Environmental Information Services for Grant MacEwan

Community College, September 1986.

Subsquent upgrades and expansion by Bob Hawrelak, Ross Hill, and Geoffrey George.

Edited by François Lange, May 2012.

Contents SECTION I

AN INTRODUCTION TO THIS MANUAL .......................................................... 1

SECTION II

OVERVIEW, SCHEDULES AND ACADEMIC & PROGRAM POLICIES .................. 5

What is Theatre Production? ...................................................................................... 7

What is the Theatre Production Program at Grant MacEwan University? ................. 8

Theatre Production Program Courses ......................................................................... 8

Courses of the Theatre Production Program ............................................................ 10

Typical Daily/Weekly/Monthly Schedule .................................................................. 11

Academic Schedule .................................................................................................... 12

Fees ............................................................................................................................ 12

Student Rights & Responsibilities .............................................................................. 13

1.0 Policy 13

2.0 Rationale and Scope 14

Regulations ................................................................................................................ 14

3.0 Part A – Rights 14

4.0 Part B – Student Responsibilities 15

5.0 Student Discipline and Appeals Procedure 17

Program Policies ........................................................................................................ 18

Class Attendance ....................................................................................................... 18

Late Assignments ....................................................................................................... 18

Incompletes ............................................................................................................... 20

Dropping Courses ...................................................................................................... 21

Special Project Work ................................................................................................. 22

Building Hours ........................................................................................................... 22

Key Policy - Access to Spaces .................................................................................... 23

Photocopier ............................................................................................................... 24

Evaluation .................................................................................................................. 24

Other Policies and Expectations ................................................................................ 25

Course Outlines ......................................................................................................... 25

Assignment Delivery .................................................................................................. 25

Late Policy .................................................................................................................. 26

Return of Assignments .............................................................................................. 26

Students with Disabilities .......................................................................................... 26

Class Attendance and Participation .......................................................................... 27

Student Performance ................................................................................................ 27

Classroom Etiquette .................................................................................................. 27

Shop Etiquette ........................................................................................................... 28

Backstage Etiquette ................................................................................................... 29

Instructor Assistance for Students ............................................................................ 30

Plagiarism, Dishonesty and Libel ............................................................................... 30

Cell Phone Use ........................................................................................................... 31

Computers in the Classroom ..................................................................................... 31

Use of Personal Entertainment Devices .................................................................... 32

Use of Equipment in Production Office / Homeroom ............................................... 32

Other Expectations .................................................................................................... 32

SECTION III

THEATRE PRODUCTION – FACULTY ............................................................. 36

Geoff Bacchus ............................................................................................................ 36

James Robert “Jim Bob” Boudreau ........................................................................... 36

Marian Brant.............................................................................................................. 37

Alana Broomfield ....................................................................................................... 37

Melissa Cuerrier ........................................................................................................ 38

David U. Garfinkle ...................................................................................................... 38

Geoffrey George ........................................................................................................ 39

George Griffiths ......................................................................................................... 39

John Madill ................................................................................................................ 40

Doreen Watt Piehl ..................................................................................................... 40

Clayton Rodney ......................................................................................................... 41

Wade Staples ............................................................................................................. 41

Darcy Turlock ............................................................................................................. 42

SECTION IV

PRACTICUM – DESCRIPTION & PROCESS ..................................................... 46

What is Practicum? .................................................................................................... 46

Why Practicum? ........................................................................................................ 46

A Few Notes about Producing a Show: ..................................................................... 47

All the different jobs! 47

The Production Schedule 47

Steps in Producing a Show 47

Communication 50

Production Meetings 51

If Things Aren’t Going Well 51

So what am I expected to do? 52

Who are the Practicum Supervisors? ........................................................................ 53

Your Job Description .................................................................................................. 53

Practicum – Evaluation .............................................................................................. 55

Practicum Journal ...................................................................................................... 56

Review and Appeal Processes ................................................................................... 57

Debriefing: Looking Back on Each Practicum Experience ......................................... 58

Evaluation of the Practicum Program ....................................................................... 59

Rules and Guidelines for Theatre Production Students ............................................ 59

Be on Time ALL the Time 59

Missing a Call 59

Bidding for Jobs 59

Posting Calls on the Callboard 60

Time Sheets 60

Special Projects 60

Job Descriptions 60

Grievances and Appeals 60

Keep Informed 60

Alcohol and Drugs 60

Food and Drink 61

Practice Good Safety 61

SECTION V

PRACTICUM – JOB DESCRIPTION ................................................................ 64

Production Manager (PM) ......................................................................................... 64

The Stage Manager (SM) ........................................................................................... 66

Technical Director (TD) .............................................................................................. 69

Department Heads – General Duties ........................................................................ 70

Head Scenic Carpenter and Head Stage Carpenter 72

Head of Props 73

Head of Paint 75

Head Lighting Technician 76

Head of Audio 78

Wardrobe Head 80

Design Assistant 82

Theatre Lab Technician 83

Wardrobe Tech .......................................................................................................... 84

SECTION VI

LINKING WITH USER GROUPS ..................................................................... 88

Who are the User Groups? ........................................................................................ 88

What do They Expect of Us? ..................................................................................... 88

Theatre Arts 89

Music 89

SECTION VII

THE FACILITY .............................................................................................. 94

General Safety ........................................................................................................... 94

Special safety ............................................................................................................. 95

Theatre Production Work Areas ................................................................................ 96

The Scene Shop (Room 381) ..................................................................................... 98

Spray Booth (Room 382) ......................................................................................... 101

The Welding Shop (Room 383) ................................................................................ 102

The Audio Lab/Lighting Lab (Room 295) ................................................................. 103

“The Haar” (John L. Haar Theatre) & “The Lab” (Theatre Lab - Room 189)............ 104

Wardrobe (Room 481)............................................................................................. 105

Wardrobe Storage (Room 330a) ............................................................................. 106

The Props Room (Room 381) .................................................................................. 106

Gel Room & Tech Office (Room 334) ...................................................................... 107

Home Room (Room 294) ......................................................................................... 108

The Production Office (Inside 294).......................................................................... 109

SECTION VIII

APPENDIX ................................................................................................. 112

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SECTION I: INTRODUCTION

THEATRE PRODUCTION MANUAL

2012 - 2013 SECTION I

THEATRE PRODUCTION PROGRAM MANUAL Page 3

SECTION I AN INTRODUCTION TO THIS MANUAL

This manual is for you. It has been written to introduce you to theatre production and the Theatre

Production Program at Grant MacEwan University. It is also meant to be a reference book for you

while a student in this program, and perhaps on into your professional career as well.

This manual has eight (8) sections. Sections II and III describe the Theatre Production Program

and its instructors. Section IV is a detailed description of the Practicum course followed by section

V which describes the various practicum jobs. Section VI discusses the different groups that you

will work with. Section VII is devoted to the facilities, equipment and production materials you

will use while in this program. Section VIII is the appendix for this manual.

We hope this manual, or at least parts of it, get(s) ragged with use! But we know it can be

improved with your feedback. For example, you may not read some sections while you may want

more detail in others. Whatever you think about it, let us know!

A few words of advice: Please don’t read this manual all at once! It’s not meant for that. But look at the table of contents now, so that you know what is covered. Then put the manual where you can find it! As you use it, make your own “revisions” – add notes, copies of useful material you’ve found, etc.

We hope that this is a helpful start.

Remember, you can make it better!

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SECTION II: OVERVIEW,

SCHEDULES & POLICIES


2012 - 2013 SECTION II


SECTION II OVERVIEW, SCHEDULES AND ACADEMIC & PROGRAM POLICIES

What is Theatre Production?

Theatre production refers to all those activities that enable a show to happen. Many of these are

invisible to the audience, especially if we’ve done our job right!

There are a wide variety of jobs in theatre production. They all require creativity, accuracy and

stamina! Some are specialized technical jobs such as:

Making stage scenery: drafting and model-making, construction, painting, setting up and

dismantling (strike).

Running the lighting for a show: planning, hanging and focusing the lights.

Planning, producing and running the sound for a show.

Obtaining and/or making costumes and props.

Other theatre production jobs are more general and “management” oriented such as:

Coordinating all technical activities.

Managing the movement of people and objects on and off the stage during the rehearsals

and performances.

Theatre production work is co-operative; it is never a “one-person” effort.

You are connected to other people, who depend on you to do your job and

be on time. The whole system relies on good communication; everyone

needs to know where they fit in and what’s happening that might affect

them.

Theatre production work is not “nine-to-five” – the hours may be irregular and there will be times

of intense effort and stress (such as during the week before an opening night). Each show will be

different: from large, multi-media productions to small, one-person recitals. TP will take you

through many different settings.

SECTION II 2012 - 2013

Page 8 GRANT MACEWAN UNIVERSITY

What is the Theatre Production Program at Grant MacEwan University?

The Theatre Production program at Grant MacEwan University is a two-year, 60-credit diploma

course. The course enrollment for each year is limited to approximately 30 students. It costs about

$13,608 for this program, to be paid in two installments; one each September. Because books and

supplies need to be purchased in the first year, the first year costs are about $7,492 while the

second year costs are about $6,116 depending on what option courses the student elects to take.

There are a number of bursaries and scholarships available to Theatre Production students once

they have begun the program. Detailed information is available on the Grant MacEwan University

Website:

www.macewan.ca

Admissions Scholarships, Awards & Bursaries

The textbooks, course packs required for all Theatre Production courses (including English and

Electives) must be purchased from the MacEwan Bookstore. Personal equipment (tools and

supplies) may be purchased anywhere. Of the $13,608 for the program, about $2055 will be for

books and supplies.

Prospective students must have an Alberta high school diploma (or its equivalent) or qualify as a

Mature Student. Students must have standard level first aid certification. There is no pre-testing for

this program, but it is advisable that you have some experience in amateur productions, have some

mechanical skill (e.g. carpentry, electrical work, etc.), and be interested in pursuing theatre

production as a career.

Theatre Production Program Courses

This program provides each student with an introduction to all aspects of theatre production.

(There are no courses in design or directing.) In addition, each student has the opportunity to

advance in a specific technical area and further develop one or more skills. Because of the broad

knowledge and specific skills acquired, graduates should have good job prospects in commercial

theatre.



The program consists of a balance of:

Background theory: both general (i.e. communications, history of theatre, management),

and

Specific to each skill area (i.e. lighting, audio, stagecraft, costume management);

Mechanical skill development: drafting, model making, lighting, set building and

painting, sound reproduction and reinforcement, prop making, costume making.

“Real-life” experience working on productions.



The following table lists the courses and general information about them:

Courses of the Theatre Production Program

Year I Term I September – December Credits/Units TPPR 102 Drafting and Model Making 2 TPPR 103 Introduction to Technical Theatre 1 TPPR 108 Rigging 1 TPPR 110 Audio I 2 TPPR 111 Footings** 5 TPPR 117 Practicum I 3 ENGL 111 Communications OR 3 ENGL 102 Analysis and Argument Term II January - April Credits/Units TPPR 101 Applied Theatre History 3 TPPR 104 Stagecraft I 2 TPPR 105 Lighting I 2 TPPR 106 Set Painting 2 TPPR 107 Introduction to Costumes 2 TPPR 127 Practicum II 3 ELECTIVE OR 3 ENGL 103 Introduction to Literature Year II Term III September – December Credits/Units TPPR 203 Management 4 TPPR 212 Prop Making I 2 TPPR 237 Practicum III 3 Elective 3 PROGRAM OPTIONS – Fall Term* TPPR 204 Stagecraft II 2 TPPR 206 Set Painting II 1 TPPR 215 Lighting II 2 Term IV January – April Credits/Units TPPR 247 Practicum IV 3 Elective 3 PROGRAM OPTIONS – Winter Term* TPPR 202 Model Making 2 TPPR 207 Wardrobe II 2 TPPR 208 Individual Studies I 1 TPPR 218 Individual Studies II 2 TPPR 210 Audio II 2 TPPR 221 Technical Director 2 TPPR 222 Prop Making II 1 *In their second year, students must take a minimum of 8 option credits.

**Mandatory before using the shops

REMEMBER:

YOU NEED 60 CREDITS TO GRADUATE: 48 program credits (or acceptable equivalent), 9 credits from elective courses (or advanced standing) & 3 credits of Communications, ENGL111 (or advanced standing)



Typical Daily/Weekly/Monthly Schedule

The schedule for Theatre Production (TP) students varies from month-to-month. Primarily it is a

factor of when a Theatre Arts (TA) show, which is supported by the Theatre Production program,

is scheduled to open. Regular TP courses stop approximately two weeks prior to the opening of a

TA production so that the TP students can concentrate on putting the show into the production

space, “teching” and rehearsing the running of the show before opening the show to public

audiences. These are called “Production Weeks”, and they occur four times during the year: twice

in the fall term and twice in the winter term.

It is not unusual in TP to work up to 4 weeks without a day off!

Between productions, TP students attend regularly scheduled TP classes. This is similar to a

regular University program. However, besides assignments for these classes, through the

Practicum course students may also be required to participate in “Shop Calls” where scenery,

costumes, and props are prepared for the next production. These may be four-hour or longer calls

on weeknights or weekends. Further information about these calls can be found within the

Practicum discussion of Sections IV and V of this manual.

NOTE: Although TP courses stop to allow production weeks, elective and

English courses do not. You are expected to attend these classes right

through production weeks.

Additionally, September is a uniquely scheduled month which provides the first-year students the

opportunity to participate in a month-long preparatory session called Footings which prepares new

students for the experience of show and shop calls. This is actually a composite of material from

most 100 level TP courses. It’s like a crash course in every aspect of the theatre! See the course

descriptions for further information.

Current TP schedules are regularly posted on the bulletin board area of the Home Room (294) and

on Black Board via www.mymacewan.ca, so please check regularly. Changes will be denoted by

a different paper colour. Always check the publication date of the schedule. (Is it newer than

yours?)



Academic Schedule

For a complete listing of the Academic Schedule, please refer to the Grant MacEwan University

website:

www.macewan.ca

Current Students

Academic Schedule

Download the 2012/2013 Academic Schedule

Fees

For information about fees, consult Grant MacEwan University Website:

www.macewan.ca

Programs & Courses Centre for the Arts and Communication

Programs Theatre Production

Tuition & Fees



Student Rights & Responsibilities

You are urged to consult the Grant MacEwan University website, as well as BlackBoard and

myStudentSystem on the myMacEwan website for valuable information about your student rights

and responsibilities, academic regulations, grades, records, academic progress, special

examinations, and the services available to you. This forms the contract that you have entered into

with Grant MacEwan University.

For information on rights, responsibilities, and academic regulations:

www.macewan.ca

Programs and Courses

Academic Calendar

View Online

Admissions and General Student Information

Policies and Regulations

To see your grades, records, and academic progress:

www.mymacewan.ca

Login

Home Applications (bottom right) BlackBoard

-- OR --

Student Services (tab)

Launch myStudentSystem

As a convenience, the section on Students Rights & Responsibilities is reprinted here. Further

explanation or clarification is available through either the Student Resource Centre, the Program

Chair or the Centre for the Arts and Communications Dean's office.

1.0 Policy

As the learning environment is a shared responsibility involving commitment to and respect for the

principles and practices of acceptable behaviors, Grant MacEwan University students are



responsible for conducting themselves in a manner suited to the best interests of the University.

They are expected to apply themselves to their studies and act with propriety and conformity

regarding University policies, rules and regulations, including the Student Rights and

Responsibilities. If a student does not accept and live up to these responsibilities as outlined, the

University reserves the right to take such action as, the case warrants.

When a student feels that his/her rights are not being met, the student shall have the right to take

appropriate action in accordance with this and other University policies.

2.0 Rationale and Scope

The rights and responsibilities of students are described to ensure that the University environment

is conducive to learning and supports an atmosphere of civility and safety for students and the

University community when students are involved in on-campus activities, learning activities

associated with courses or in off-campus University-related learning activities and environments,

events or other activities.

Students are empowered to provide feedback through various University survey and evaluation

instruments that are made available to them. Students are also encouraged to provide feedback

through Student Program Advisory Committees (see Policy C3030 Student Program Advisory

Committees).

Regulations

The Vice President Student Services is responsible for the overall management and

implementation of this policy.

3.0 Part A – Rights

3.1 Students shall have the right to assemble.

3.2 The student press must be free, within legal bounds, of censure or control; its publishers and

editors must be free to define policies regarding editorials and publication of information (see

4.12).

3.3 Students have a right to a healthy and safe environment. The student has a right not to be

subject to harassment, sexual harassment, bullying or discrimination, indignity, injury or violence.

3.4 Students have specific information access and privacy protection rights and protections as

granted them under the Alberta Freedom of Information and Protection of Privacy (FOIPP) Act

and Regulation. The FOIPP Act applies to all information collected, generated, and recorded by

the University in effecting its business under its charter as a post-secondary educational institution

under the Alberta Post-Secondary Learning Act (see Policy D7230 Information Security Policy).



3.5 Students shall be informed of the extent of University-related expenses through published

information or information conveyed by University employees.

3.6 Students have the right, at the beginning of a course, to receive a course outline which provides

notice of instructor availability, course content and expectations, calendar description,

requirements for attendance and punctuality, evaluation requirements and teaching methodologies,

and how significant changes to the course outline will be communicated (see Policy C1010 Course

Outlines).

3.7 Students have a right to expect that the University’s academic schedule is followed (see Policy

A3020 Academic Schedule).

3.8 Students may, within a prescribed time period, change a course for which they have registered

or transfer to a different section within a course, if available, after classes have begun according to

the prescribed dates as indicated in the academic schedule.

3.9 Students have a right to freedom of opinion and expression within the bounds of the learning

environment and, where course content allows, in assignments and exams, but not at the expense

of the rights of others.

3.10 Students have a right to proper and impartial evaluation of their performance. Students have a

right to request a reassessment of written final examinations (see Policy C2020 Grading).

3.11 Students have the right to have their completed assignments returned to them after they are

marked, unless the instructor has previously informed the student otherwise.

3.12 Students have the right to expect the University to provide instructors who possess

appropriate knowledge and teaching skills in relation to their course of instruction.

3.13 Students have the right to study in a University environment that respects academic integrity

(see Policy C1000 Academic Integrity)

3.14 Students have the right to procedural and substantive fairness in any investigations of

allegedly improper student conduct or alleged violations of Policy C1000 Academic Integrity.

3.15 Students have the right to request and view any rule, policy or guideline regarding study and

general conditions at the University as well as information regarding the consequences of

transgressing such rules, policies or guidelines.

3.16 Students have the right to support, through the appropriate student governance

representatives, with regard to any right, according to the procedures in effect at the University.

3.17 Students of the University will have the right to access a process to appeal a decision or ruling

that affects them unless a University policy notes that a matter is not able to be appealed.

4.0 Part B – Student Responsibilities

By the act of applying to a program and/or registering in courses, each student agrees to be bound

by the policies, regulations and procedures of Grant MacEwan University.

4.1 Students must conduct themselves in a responsible manner, and any of the following shall

constitute improper student conduct:



a) Cheating, plagiarizing, fabricating and falsifying, assisting others in dishonest

behaviour, or obtaining an unfair advantage (see Policy C1000 Academic Integrity).

b) Engaging in behaviour that is defined as harassment, sexual harassment, bullying, or

discrimination (see Policy D1125 Harassment), whether through words, conduct or

material, is reasonably considered to be offensive to someone or that demeans, belittles,

intimidates or humiliates another person. This behaviour includes threatening to subject

or subjecting any person, student or staff to physical, sexual or mental harassment,

indignity, injury, violence or discrimination.

c) Disturbing, disrupting, or otherwise interfering with learning, studies, laboratories,

lectures, work or other activities of fellow students or staff. In addition, students must

respect the rights of other persons to health, privacy and security.

d) Intentionally damaging, destroying or moving without authority the property of the

University or of any student or employee.

e) Making unauthorized use of or unauthorized entry to University property. f)

Participating in unauthorized or potentially hazardous activities.

f) Failing to obey the lawful instructions of any University official or employee acting in

the performance of his or her duty and failing to obey all published or posted regulations

relating to the use of and entry to University building and facilities.

g) Failing to obtain approval, or failing to follow procedure as required under University

policies and regulations

4.2 Students are responsible for acquainting themselves with course outlines, content, evaluation

methods, timelines, and methodology (see Policy C1025 Course Outlines).

4.3 Students are responsible for knowing and adhering to course prerequisite and co-requisite

requirements.

4.4 Students are responsible for acquainting themselves with procedures to be followed regarding

rescheduling or replacement of classes or assessments and examinations.

4.5 Students are responsible for addressing any concerns first with the instructor or, if this is not

feasible, with the Chair.

4.6 Students are responsible for punctuality and course attendance as specified in Policy C2050

Attendance.

4.7 Students are responsible for submitting assignments to their instructors within the required

deadlines.

4.8 Students are responsible for retaining copies of all submitted work until the end of the term.

4.9 Students are responsible for taking advantage of educational activities offered to them and for

taking part in meetings during which topics concerning them will be discussed.

4.10 Students are responsible for using University services to ensure proper orientation to their

studies, monitoring of academic progress and graduation requirements.

4.11 Students are responsible for fulfilling their obligations, as agreed upon in conjunction with the

University, with regards to the use and proper treatment and timely return of University property

and services at their disposal.



4.12 Students are required to respect standards of responsible journalism and communication by

avoiding the creation or distribution material of a slanderous, defamatory or indecent nature,

unfounded allegations, slights to personal dignity and malevolent insinuations.

4.13 Students who live in the University’s residence must adhere to all Residence Community

Standards.

4.14 Students are responsible for reading their e-mail as directed to their University-assigned email

account and for responsible use of technology (see Polices D6010 Use of University Computer

Facilities and Information Resources and D7225 Electronic Mail).

4.15 Notwithstanding any other student responsibilities as indicated in the policy, students are

responsible for adhering to municipal, provincial and federal laws.

5.0 Student Discipline and Appeals Procedure

With the possible exception of D1125 Harassment, incidents of alleged improper student conduct

or violation of a student’s rights will be dealt with according to the regulations outlined in the

following policies: E3103 Student Appeals, D1125 Harassment, E3102 Student Discipline, and

C1000 Academic Integrity.



Program Policies

The Theatre Production Program has established policies on attendance, lateness, and late

assignments in an effort to aid the student in completing projects and assignments, plus being on

time. It is said that a big factor in getting through life is to just show up. Within professional

theatre, it is not only showing up, but showing up on time and prepared.

The following policies cover: class attendance, lateness, submission of late assignments, challenge

exams, dropping courses, incompletes, special project work, building hours & access, key and

photocopier privileges.

Class Attendance

The Theatre Production Program has adopted a policy of mandatory class attendance.

You must attend classes. If you fail to attend 3 or more classes you will not be allowed to continue

in that course until you have met with the Instructor or Chair to clarify your intentions of

continuing on in that course.

The onus is on the individual student to prove he or she wishes to complete that course!

This policy has been adopted because the material discussed in class cannot be accessed

independently. Students who fail to attend classes on a regular basis impede the classes when they

do attend. Students share the responsibility for their education (See 4.6 under Student

Responsibilities, and 2.1 of policy C2050, Attendance)

Additionally, the Instructor may choose to implement a program-accepted policy of barring

students from class when they show up late. Punctuality is important – consider it a Show Call!

The Instructor will inform you of his or her late access policy during the first class. Doors may

close at the scheduled class starting time or a “degree of latitude” may be adopted – up to 5

minutes from the scheduled time. Three (3) “lates” constitute 1 absence. Being barred admission

will be considered an absence.

Assignments

Assignments are expected to be handed in on time.

Instructors will not pester you to hand an assignment in.

2012 – 2013 SECTION II


Assignments not handed in, or handed in more than 5 days late will be graded zero (0%).

If you find you are having trouble completing an assignment you must discuss this with the

instructor BEFORE the due date. Excuses are not retroactive.

Assignments must be printed out from their originating software (Word, Excel,

Vectorworks, etc). No handwritten work will be accepted.

If in doubt, check with the instructor that they have a reasonable expectation that they will

be able to open your assignment if they wish to receive it electronically. If you wish to use

an obscure piece of software you must convert your assignment to a .pdf document before

submitting.

It is the student’s responsibility to keep an electronic back up copy of the original

assignment.

Unless specified by the instructor, assignments may NOT be handed in via email.

Late Assignments

The Theatre Production program has adopted a policy of acceptance with penalization of

assignments/projects submitted late. Instructors may choose to adopt this policy on their own

accord or may implement their own policy (which must be approved by the Chair). The Instructor

will inform you about acceptance of late assignments/projects during the first class.

As a guideline, the following policy has been adopted by the program:

Assignments and projects submitted after the due date and time will be accepted with the following

conditions:

1) For every school day late, an immediate decrease in mark potential of 10% per day.

(e.g. if the assignment was originally worth 50% of the course mark – should the work

be “perfect” but submitted up to 4 school days late, the highest mark possible is now

only worth 30% of the total class mark – 50% x 6/10 = 30% – a decrease in mark

potential of 40%).

2) After 1 week (5 school days) the assignment will not be accepted.



3) A late assignment must be submitted via the Program Chair’s or Program Secretary’s

office between the hours of 0900 and 1630 to be considered for submission during that

day. Submissions after that time will be considered as submitted on the following day.

Also, they must be personally received – do not simply slip them under the door.

They will not be accepted.

Tests and Examinations.

Tests and quizzes are small informal checks to see if a student is progressing satisfactorily through

the course of the term. Mid-Term and Final Examinations are a more formal process and count for

a higher percentage of a student’s final mark. Not all courses will have tests and examinations;

some courses depend solely on assignments and project work.

Instructors are under no obligation to:

Allow a student to write an examination at a date and time other than the published time set

out in the course outline.

Allow a student to re-write an examination.

Students who miss a mid-term or final examination without just cause (illness with doctor’s note,

family emergency), will be assigned a mark of zero for that examination. The student MUST

contact the instructor by phone or email before the examination time.

Incompletes

You are expected to complete the courses you are registered in. Assignments and exams must be

completed at the end of a term.

If a problem is encountered in submitting a final project or assignment and you wish to have an

“IN” (Incomplete) submitted as a final grade, this can only be done under the following conditions:

a) There are extenuating circumstances.

b) There is a reasonable expectation that the student will complete the work.

c) An agreement is reached between the student and instructor which is placed in writing

and is submitted to both the Chair and Registrar. This agreement must detail:

1) Course, instructor, & student information

2) Reason for assigning Incomplete



3) Work which is to be completed (detailed)

4) Date by which time a mark is to be received by the Registrar's office. Failure to

abide by this policy will result in a grade of “F” being assigned.

Dropping Courses

If you plan to drop a course please be aware of the ramifications.

Many courses are prerequisites for others. Additionally, many courses are only offered at one time

during the University year. Dropping a single course can result in an additional year of study being

required to attain a diploma. You may not be allowed to take a “next term” course because you

dropped the prerequisite.

NOTE: Specific timelines are set forth by the University– you must

withdraw from a course before a specified deadline each term. Failure to

do so will result in a mark of “F” being recorded. This will have a rather

dramatic effect on your grade point average (GPA)! Ask the Chair or

Registrar's office about deadlines for withdrawal. These are also listed

under the Academic Schedule of the University Website.

www.macewan.ca

Current Students

Academic Schedule

Download the 2012/2013 Academic Schedule

Depending on your course load, the action of dropping a course may have a significant affect upon

your ability to carry a student loan. You must carry at least 9 credits in a term in order to qualify

for a student loan. Computer monitoring is now in place to alert the Student Finance Board about

students who no longer qualify with “full-time” status.

Since most TP courses are worth only 1 or 2 credits each, you will have to take more classes to

reach the 9 credit minimum required by student lenders for full-time status.



Special Project Work

Under certain conditions, credit can be granted towards course or practicum marks by engaging in

“Special Project Work.” “Special projects” relate to work performed in enhancing production

resources or creating resource materials (articles, catalog info, research, etc.) which directly benefit

the program and productions.

These projects must be agreed upon between the student and the instructor, and require approval

from the Chair. All special projects require a student/instructor contract similar to that required for

Incompletes.

Special projects must entail specific tasks which reinforce skills required in a subject area.

Examples of special projects include: restoration of luminaires, fabrication of portable prop

cabinets or Lab production desks, wiring of multi-cable snakes, etc.

Building Hours

Normal building hours may vary but on weekdays are typically 7:00 AM (0700) to 10:00 PM

(2200). Regular students are not permitted to be in the building outside of the normal building

hours.

Arrangements have been made to provide Theatre Production students with extended hours of

access. However, you are not permitted to be present in the building between the hours of 12:00

AM (midnight/0000) and 7:00 AM (0700). Students will be escorted from the building by Security

or Facilities staff if found present during these hours.

Exceptions: With appropriate notice to the Chair and Facilities, students may be present within the

building between the hours of 0000–0700 if:

a) An After Hours Access Form is properly filed (a template is on the home room

computer – must be completed in full, signed by the Chair or designee and submitted to

the Facilities supervisor, or his designate, by 1700 Hours of the day the extended access

is required);

And:

b) The activity is directly supervised by a University representative.



Should Security or Facilities staff come across any student who is engaged in a hazardous activity

and a supervisor is not present for the activity (case B above), despite a properly filed After Hours

Access Form, the Security/Facilities staff can request the student cease the hazardous activity

and/or escort the student from the building.

NOTE: You must carry your Student ID card at all times as you must

present it to Security or Facilities staff as requested.

Key Policy - Access to Spaces Theatre Production students are provided with keys, codes and ving-cards to certain areas of the

Centre for the Arts Campus in order that they may perform their Practicum-related assignments

and so they may have access to the common Home Room area (191) and the Production Office

(480). This is a special privilege which other students of the University do not share. Do not abuse

this privilege – it can be quickly revoked.

A $20 deposit is required for a set of practicum keys. This deposit is refunded when you return the

keys.

NOTE: Any student found in a space to which they are not specifically assigned to have access shall be considered “Breaking & Entering” and will be dealt with accordingly. Penalties may include University disciplinary action (including expulsion) or criminal charges depending upon the severity of the violation. Additionally, if you are found in possession of a key you are not entitled to have, the key will be confiscated and disciplinary action may be taken.

!!! Do not enter rooms you are not approved to be in despite the fact that your key opens the door!!!



Photocopier Photocopiers are available within the library. Use your MacEwan Card to purchase copies.

The photocopier installed in the Production Office (Rm 480) is intended for “Production Purposes”

only. It is placed there so that rehearsal or meeting notes may be duplicated and distributed.

Additionally, program staff use the machine. A code is required for operation; these codes are

assigned to the Production Manager and Stage Manager for every production. These codes are

provided with a fixed copy budget (total number of copies permissible). Exceeding the budget

without Chair approval will result in the student who is assigned the code having to personally pay

for the excess number of copies (10¢ per copy).

You may choose to do your personal photocopying off-campus. Possible vendors include: Staples

at 11808 104 Ave (Oliver Square), 9580 170 St, or 10330 101 Street; Kwik Kopy at 10607 170

Street or 10544-114 Street; or College Copy at 10221 109 Street.

Evaluation

The University uses letter grades for final marks. During the term, you will receive percentage

grades for assignments and exercises. The percentage grade will be converted to a letter grade

according to the following table.

Letter Grade Percentage Grade Point Description

A+ 93 – 100 4.0 Outstanding

A 87 – 92 4.0

A- 80 – 86 3.7 Excellent

B+ 77 – 79 3.3

B 74 – 76 3.0

B- 70 – 73 2.7 Good

C+ 67 – 69 2.3 Satisfactory

C 64 – 66 2.0

C- 60 – 63 1.7

D+ 57 – 59 1.3

D 50 – 56 1.0 Pass

F <50 0.0 Fail



Other Policies and Expectations

The following policies and expectations are to be taken as defaults for all courses. Individual

instructors have the right to change any and all of these policies as they see fit to accommodate

their course material and their personal teaching styles. Policies and expectations listed on

individual course outlines supersede this document. Students with questions or concerns about

policies and expectations are encouraged to discuss them with the instructor. If the student feels

unsatisfied with the outcome of this discussion, then, and only then, may the student bring the

matter to the attention of the program Chair.

Course Outlines

Instructors are required by policy to deliver their course outlines to students on the first day of

class. The course outlines contain information regarding the instructor, course content, delivery,

policies, mark breakdowns and a schedule of class time (always subject to change). Some

instructors may elect to place portions of their course outlines on-line (typically via BlackBoard),

and the instructor will advise students how to access this information.

Check BlackBoard frequently for any special announcements such a class cancellations, or

schedule changes.

Assignment Delivery

Assignments must be submitted in hard copy. No assignments will be accepted by email or in any

other electronic version unless specifically directed by the instructor. Keep a back-up copy of all

assignments until the end of the course. You are also required to keep all your graded

assignments and must be able to provide them if necessary. Unless specified otherwise by your

instructor, all assignments must be printed in 12-point Arial and double-spaced.

Assignments must include a cover page with the following information in the top right hand corner

(unless specified otherwise by your instructor):

Name of course

Name of instructor

Name of student and student ID #

Assignment #

Date handed in



Confidentiality of Student Academic Performance

According to University policy, student academic records are confidential. Student records refer to

any record in any format (paper, database, or electronic) that contains individual student

information of a personal, academic or disciplinary nature. Students shall be granted access to

information contained in their student records, which are held by the University in accordance with

University procedures and Freedom of Information and Protection of Privacy (FOIP) legislation

(University policy E1150). In compliance with FOIP, the instructor will only discuss academic

matters with the student who is the author of academic work (not with parents, spouses,

boyfriends/girlfriends, grandparents, guardians, pets, etc.).

Late Policy

Working to deadline is key in this field and as such, will be enforced in all courses. Without

exception, unexcused late assignments will receive a zero. If an assignment is going to be handed

in late, the student must contact the instructor no less than 24 hours (one day) prior to the deadline

and provide an adequate reason.

Extensions will only be granted in cases of serious circumstances (e.g., death in family, severe

illness or injury, etc.). In cases of severe illness, you must provide a medical note signed by your

doctor, which states you are unable to do school work due to illness.

Assignments are considered handed in “on time” if they are submitted in hard copy to the

instructor at the beginning (unless specified otherwise) of the class on the due date.

Return of Assignments

Marked assignments will be returned as quickly as possible, which is normally no later than two

weeks after the due date, barring unforeseen circumstances.

Students with Disabilities

Students who may require accommodations due to a disability (Policy E3400) are advised to

discuss their needs with Services to Students with Disabilities in the Student Resource Centre

(497-5063) and to advise the instructor(s) at the beginning of the course or immediately after the

disability is identified.



Class Attendance and Participation

Attendance is important. You are expected to attend and participate in all classes. You are

expected to be punctual barring unforeseen circumstances. Attendance is critical for developing

your skills in this course and preparing for second-year courses. If you miss a class, it is up to you

to obtain class notes and handouts from other students and meet specific assignment deadlines.

Instructors will not instruct you one-on-one for the classes you have missed.

Student Performance You are expected to perform to the best of your abilities and inquire about help if you need it.

Under University policy regarding student responsibilities, you are responsible for communicating

with your instructors and/or University counselors to solve any problems you may encounter while

in any class. You are also responsible for taking advantage of services offered to you by the

University to ensure proper orientation of your studies, academic progress and general

development. The Student Resource Centre offers all kinds of support to students, be it related to

studies, family, work or relationships. The Student Resource Centre is located in the Information

Centre on the third floor of the Centre for the Arts and Communications campus.

Classroom Etiquette

According to University policy, disturbing, disrupting or otherwise interfering with studies,

laboratories, lectures, work, or other activities of fellow students or staff constitutes improper

student conduct [University policy E 3101, 4.1 (c)]. As such, cell phones must be turned off

during lectures (except under exceptional circumstances for which approval has been given by the

instructor). Internet usage (visiting URLs, chat rooms, discussion boards, social networking sites,

e-mail, instant messaging, etc) is only permitted if the instructor approves it. Students will pay full

attention while the instructor is lecturing (or when guest speakers are talking) and refrain from

Internet usage unless otherwise directed by the instructor for in-class use (class related sites,

BlackBoard, etc). Students should also be aware of the University’s Information Technology

Services department policies for computer use in public labs. Students who fail to comply may be

asked to leave the classroom.



www.macewan.ca

Services

Technology Support

Terms and Conditions

“Dear Students,

I know you’re texting.

Seriously, no one just looks down at their crotch and smiles.

Sincerely, Your Teacher.”

Shop Etiquette

Obey all instructions and directions of instructor.

Do not use equipment in any manner or for any use other than that for which it was

intended.

Come prepared with personal tools and personal protective equipment.

Do not horseplay or distract other students while they are operating power equipment.

Leave all drinks and food outside.

Clean up after yourself.

Wash your hands at the beginning of a break.

Treat equipment and materials properly and with respect.



NOTE: You are not permitted to be in the scene shop without your safety

glasses. This stands even if you are only walking across to the prop shop or

going to props storage!

Backstage Etiquette

Respect the preparation needs of your colleagues, both actors and technicians. No loud

music, talking, singing, whistling or other activities which may prove distracting to

others.

Blacks must be worn by all technicians. Your Blacks should include:

o Black pants, long sleeved black shirts (no “v” necks or opened buttons please!),

and black steel toed shoes or boots. Light coloured hair should be covered with a

black hat or toque. Your blacks should be ALL black! That means no coloured,

metallic, or reflective buttons, zippers, clasps, designs, etc. The goal is to be as

invisible as possible!

o Purchase iron-on permanent name tags for your blacks; the wardrobe department

will launder your blacks during show runs as part of their duties.

Horseplay backstage or on the deck is strictly forbidden.

Properties, costumes, set pieces, sound and lighting equipment are not to be touched,

moved or used in anyway unless you are a member of the associated running crew in the

performance of your duties.

No visitors allowed backstage before or during the run. You may escort family members

for backstage tours only after you have finished your post-show duties.

Talking backstage must be kept to a minimum during the run of a show and only for

purposes of preparing and/or cueing scene changes or quick changes.

Leave the backstage area if you are not required to be in standby or actively engaged in

the performance of your duties.

Only bottled water in re-sealable containers is allowed backstage or in the house.



Do not leave anything in the aisles or stairways of the house during the rehearsal period.

Schedule yourself appropriately to have your pre-show duties completed by the half-

hour.

No loud noises during microphone check.

Never editorialize or comment on an actor’s or another crew member’s performance.

Proper hygiene is expected. Bathe! Use deodorant or antiperspirant as necessary.

Do not use scented products, such as colognes or perfumes of kind as your colleagues,

instructors, class mates, or actors may have allergies or sensitivities to such products.

Follow the instructions of your Monitor, crew leader and/or stage manager. If you have

questions, suggestions or comments, wait for the notes sessions to bring them up.

Instructor Assistance for Students

Outside of classroom time, arrange time to meet with your instructors to discuss matters related to

their course. The Program Chair (Geoff George), Shop Technician (Geoff Bacchus) and

Instructional Assistant (Doreen Piehl) all have posted office hours. Please respect these and

arrange to visit during these times. Instructors may or may not provide you with their personal

email addresses and/or telephone numbers. Please respect their privacy. If an office door is

closed, it is closed for a reason. Do not knock at an instructor’s door if it is closed.

Plagiarism, Dishonesty and Libel

All forms of student dishonesty are unacceptable. Cheating, plagiarism, fraud, deceit or other

forms of academic dishonesty are not permitted and are considered improper student conduct

under University policies. Students caught plagiarizing the work of classmates, media

organizations (including online news media, newspapers, etc.) and other published works may face

disciplinary action. For more information on University policy on cheating and plagiarism, please

refer to the Grant MacEwan University Website for rules on Plagiarism, Dishonest and Libel.

Plagiarism and other forms of academic dishonesty are serious offences and will be dealt with

according to University policy. The minimum penalty for plagiarism is a mark of zero on the

plagiarized assignment. The maximum penalty is expulsion from the University.



www.macewan.ca

Services

Writing and Learning Services

Avoiding Plagiarism

Link: MacEwan’s Academic Integrity Policy

(C1000)

Cell Phone Use

Cell phones must be turned off during lectures, labs and build calls (except under exceptional

circumstances for which approval has been given by the instructor). Wait until a break to check or

return calls. Cell phones must be left in the student’s locker during show calls.

NOTE: It is very important that cell phones are not brought into the Haar

or Lab during rehearsals or performances as the signals may interfere with

the audio equipment.

Computers in the Classroom

Students may make use of personal laptops to take notes in class.

Personal computers are not allowed into the classroom during midterm and final

examinations.

If an examination is set as an ‘open book’ examination, a student must print off their notes and use

that hard copy. Internet usage (visiting URLs, chat rooms, discussion boards, social networking

sites, e-mail, instant messaging etc.) is not allowed during regular classroom time without the

express permission of the instructor. Students found using their laptop for inappropriate internet

usage or for the playing of games, instant messaging or emailing during lectures will be asked to

leave the classroom and will be banned from further classroom use of these devices.



Use of Personal Entertainment Devices

The use of personal entertainment devices (such as but not limited to: iPods, mp3 players, portable

video game devices, cell phones, iPads, E Readers, etc.) is not allowed at any time during lectures,

labs, demonstrations, build calls or show calls.

Use of Equipment in Production Office / Homeroom

The homeroom is a common area for student to relax in. It is not intended to be used as a

playroom.

Keep noise levels down.

Clean up after yourself.

Respect the property of others.

The refrigerator and microwave have been provided by former students. If they require

repair or replacement it is up to the student body to provide the funds.

The computers, printers, plotter, and copy machine are for production use only. If they

require repair, inform the Program Chair. If you require paper for the copier or printers,

check with the Program Secretary. If you require plotter paper, check with the Shop

Technician.

The telephones may be used freely. No long distance calls are possible from these

phones.

Do not make any changes to the computers. Save the cute screen savers and desktops for

your own computer at home.

Other Expectations

Students will address the instructors, fellow classmates and staff with respect and

dignity.

Foul language is not permitted in the classroom. According to University policy,

threatening to subject or subjecting any person, student, or staff to physical, sexual, or

mental harassment, indignity, injury or violence constitutes improper student conduct.



Students will work in a spirit of cooperation and encourage teamwork.

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SECTION III: FACULTY & STAFF


SECTION III


SECTION III THEATRE PRODUCTION – FACULTY

Geoff Bacchus

Shop Safety (Footings) and Rigging

Geoff is a graduate of the MacEwan Theatre Production Program, Class of ‘89. He has since been with the University as the Stage and Shop Supervisor, managing the Haar Theatre and Centre for the Arts Woodshop. He is the Head Flyman for the Edmonton Opera and enjoys dabbling in the worlds of Special Effects and Pyrotechnics.

James Robert “Jim Bob” Boudreau

Technical Director

Theatre companies Jim Bob has worked for as a Technical Director include: The Stratford Festival; The Banff Centre; The Manitoba Theatre Centre; The Vancouver Playhouse, Theatre Calgary and The Canadian Stage Company. Freelancing since 1990, a few of his more notable contracts are: Production Manager/Technical Director for Catalyst Theatre’s Hunchback, Nevermore, Frankenstein and The Blue Orphan; Technical Director for the Government of Alberta’s ACI 2005 Royal Visit; Technical Director for the opening and closing ceremonies for the Edmonton 2001 I.A.A.F. World Championships in Athletics - and Production Manager for the Edmonton Fringe Festival. To learn more about Jim Bob and his “virtual project management assistant services”, visit Mopboy.com.

SECTION III


Marian Brant

Introduction to Technical Theatre, Management

Marian Brant's professional career in theatre spans the past 35 years. She has worked as a stage manager, production manager, general manager and technician. In 1999, Marian joined the Theatre Production faculty. Marian's extensive stage-management credits include small- to large-scale productions for companies such as: Catalyst Theatre, Citadel Theatre, Concrete Theatre, Edmonton Opera, Green Thumb Theatre (Vancouver), The International Street Performers Festival, The Second City, University of Alberta - Timms Centre for the Arts, and Workshop West Theatre. National and international touring credits include: The House of Pootsie Plunket (Catalyst Theatre’s UK tour), The Danish Flying Superkids (Nova Scotia International Tattoo's Maritime tour), All My Relations (Catalyst Theatre’s Western Canadian tour), No’Xya - Our Footprints (Vancouver's Headlines Theatre Canadian tour), and the Second City Expo ‘86 (Western Canada tour). Marian’s production management credits include: Sunshine Theatre (Kelowna), River City Shakespeare Festival (Edmonton) and the Edmonton Symphony Orchestra. From 2001 to 2007, Marian administered Edmonton's award-winning Theatre for Young Audiences company, Concrete Theatre. Marian has served on the Board of Directors of Catalyst Theatre, L’UniThéâtre, Performing Arts Coalition of Edmonton (PACE) and PAL-Edmonton and has participated on committees for the Canada Council for the Arts and the Ed- monton Arts Council. She is a member of Canadian Actors’ Equity Association and the International Alliance of Theatrical Stage Employees.

Alana Broomfield

Administrative Support Alana has been the administrative support for Theatre Arts, Theatre Production and Arts and Cultural Management since September 1992. When not busy at the University or spending time with her family, especially her grandchildren, Alana pursues her love of nature by hiking, bird watching, gardening and studying plants and insects. As of July, 2011, Alana will also provide administrative support for the Fine Arts program.

SECTION III


Melissa Cuerrier

Wardrobe I & II Melissa's career over the past 15 years has included work as a technician, stage manager, roadie, and designer. Melissa holds both a diploma from MacEwan's Theatre Production Program and a Bachelor of Fine Arts in Theatre Design from the University of Alberta. She originally taught at MacEwan between 2005 and 2008, and is now happily rejoining the fold. She has designed more than 30 productions in Edmonton and St.Albert most notably at MacEwan, The St. Albert Children's Theatre, The Mayfield Dinner Theatre, and The Varscona. When living in San Francisco she began working in Costume Restoration. Currently she is working on a Masters in Drama at the University of Alberta.

David U. Garfinkle

Applied Theatre History David is an instructor in the Drama Department of

University of Alberta, and joins the MacEwan University

program of Theatre Production to teach applied theatre

history in 2012. Past teaching posts include the University

of Washington’s Drama Department in Seattle and the

Whatcom Community College Speech Department in

Bellingham, WA. After a BA from the University of Alberta,

David studied drama at the Guildhall in London, directing

and opera at UBC, earned an MA in Performance Studies at

NYU, and most recently completed his doctoral program in

theatre history and dramatic criticism. Along with his

decades teaching in the performing arts, he has

professional experience as a director, production manager,

dramaturge and performer in the interdisciplinary theatre. His research specializations cover the

role of the passions in the 17th Century drama, the history and psychology of acting,

expressionism and relations among history, politics, performance and literature. An expert in

theatre research methods and critical theory, David has received a research grant to explore the

impact of actor training on the theatrical communication of emotion.

SECTION III


Geoffrey George

Program Chair, Footings, Lighting I, Lighting II Geoff is a graduate of the Theatre Design program at Brock University in Ontario. He worked for several years at the Shaw Festival as an electrician, several more years at Theatre New Brunswick as resident designer and two years at the Citadel. In addition he spent several years touring with ballet, theatre and opera companies. In 1983 Geoff returned to school to be certified as an electrical engineering technologist, then again as an instrumentation technologist. For the next 12 years Geoffrey worked for the City of Edmonton as a systems analyst and process control specialist. Before becoming the program chair in 1999 Geoff taught in the program for 18 years beginning in 1981. He continues to do freelance design work. His lighting designs have been nominated for several Sterling awards.

George Griffiths

Prop Making, Model Making, Set Painting George is a long time theatre and film set decorator and painter. He was head painter for the movies Unforgiven, Shanghi Noon, and the Kevin Costner film, Open Range.

SECTION III


John Madill

Individual Studies Studies. John has been involved in MacEwan’s Theatre Production program since it began in 1978. He is a graduate of the Vancouver School of Art and the University of Alberta Fine Arts program. Prior to coming to MacEwan, John taught in the drama departments of the universities of Saskatchewan, Alberta and Calgary. He has also taught workshops in stagecraft, design and lighting throughout Alberta. He is a freelance designer and has to date designed over 300 productions.

Doreen Watt Piehl

Instructional Assistant Doreen has a Master of Arts in Drama and a Certificate in Adult and Continuing Education (CACE) from the University of Alberta. She has taught courses in theatre aesthetics, play analysis, theatre history and modern drama at Grant MacEwan University and the University of Alberta. She has performed professionally as an actor and singer. Doreen is currently Instructional Assistant in both the Theatre Arts and Theatre Production programs, has been a Theatre Arts instructor since 1988, and was the Instructional Assistant for the MacEwan Dance program from 1999 to 2005.

SECTION III


Clayton Rodney

Drafting After graduating with a diploma in Theatre Production from Grant MacEwan College, Clayton Rodney started with the Edmonton Opera and is currently employed as their Technical Director. Clayton's favorite part about being a Technical Director is the challenge of trying new things and ideas and the opportunity to work with the extremely talented designers and crew members. While Clayton has been with the opera, he has also actively been engaged by MacEwan University as a practicum monitor for the Theatre Production program and enjoys immensely the hands-on opportunities of working with students. Clayton is also a member of the International Alliance of Theatrical Stage Employees (IATSE) and currently sits as a member of its membership committee.

Wade Staples

Audio I & II Wade is a graduate of the MacEwan Music Performance and Recording Arts Program, and the Theatre Production Program. He also holds a Master’s Level certification in Stage Rigging from CITT, and an Explosives Permit issued by the province of Alberta. After leaving MacEwan he free-lanced as an audio technician, project manager, pyro technician and lighting technician, followed by two years as head of Audio at the Citadel Theatre. Wade is also active as an instructor, teaching music as well as technical theatre.

SECTION III


Darcy Turlock

Stagecraft I & II Darcy graduated from the Theatre Production program in 1992. He has toured nationally and internationally with the Alberta Ballet and Edmonton’s Shumka Dancers. Major special event credits include the 2001 I.A.A.F. World Championships, the Heritage Classic Hockey game, 2005 Alberta Centennial Royal Visit, and Edmonton’s Cultural Capital Celebration. Darcy has worked for Carnival Cruise Lines, the Edmonton Opera, the Citadel Theatre, and Phoenix Theatre. The production departments of the Edmonton International Street Performers' Festival, Comedy Arts Festival, Fringe Theatre Adventures, and the Works Festival have all been second homes. Film work includes the grip, construction and set painting department on Snow Day, Mentors, Fear Itself, and Lead Metal Fabricator on A Christmas in Wonderland. Darcy is a proud and active member of the International Alliance of Theatrical Stage Employees (IATSE) local 210.

SECTION III


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. SECTION IV:

PRACTICUM

DESCRIPTION

& PROCESS


SECTION IV


SECTION IV PRACTICUM – DESCRIPTION & PROCESS

What is Practicum?

Practicum is the practical, on-the-job work that you are required to do in each of the four terms of

the Theatre Production program. Usually you work on one or more productions, staged by

University students in Theatre Arts and Music.

This course takes up more than 50 per cent of your time during each term. It is very demanding.

“You practically live at the University” noted one student. It helps if you live close to the

University or have your own transportation since you work long and late hours. If you have a part-

time job, it should be a very flexible one. As opening night draws nearer, you may spend most of

your time working on the show. You may fall behind in your class work and go to classes tired.

However, it is important that you learn to balance your time. Complete your commitments in both

class and Practicum.

Why Practicum?

Because the Theatre Production program is intended to prepare people to work in the theatre, the

Practicum allows you to get “real” experience while still under the supervision of experienced

instructors and monitors. Each year of the program you have at least six opportunities to become

constructively involved in production.

You have little choice but to “plunge” into the first Practicum. But after a few times you should be

able to make more sense of it and learn how to cope with the threat of burn-out. If you are going to

stay in the theatre production business, you must pace yourself and follow through with your

commitments. Looking after oneself is really important – eating properly, getting enough sleep,

and exercising regularly. Then you are alert, able to do your job to the maximum of your abilities,

and able to look out for yourself and others. If you are reliable and do a good job, you will be in

demand; otherwise, you won’t be asked again.

Practicum enables you to put into practice what you have learned in class. You learn about the

realities of working in theatre production: where your strengths and weaknesses fit in, how to work

as part of a group, and the importance of keeping your commitments. On most occasions, you will

be working with professionals from outside the University, some who may eventually hire you!

Practicum gives you an opportunity to develop expertise in an area you are interested in, or to even

try a new position and find out how you like it.

SECTION IV


A Few Notes about Producing a Show:

All the different jobs!

Each show represents the cooperation of a wide variety of people: artists (performers and

designers), managers, technicians (lighting, audio, set, and costume makers) and stagehands. All

involved try to achieve the highest standards possible in the rehearsal hall and performance space.

Part of this means doing your own job as well as you can. A more important part is to be respectful

of, and cooperate with the others involved in the production. This even includes being sensitive to

the artists’ emotional states and their superstitions. It also means maintaining a sense of humour.

The theatre production people are “behind-the-scenes” in a variety of roles: some are managers and

others are technical specialists. Each role is defined and each links up with others. Descriptions for

all theatre production jobs appear in the next section of this manual (Section V).

The Production Schedule

In addition to all the different jobs that must be assigned, there is the production schedule. After

all, a show doesn’t go up over night! The following is a brief description of what happens from the

day the production is chosen to the last performance.

Steps in Producing a Show

1. The play/production is selected - this is done by the chairs of Theatre Production and

Theatre Arts, usually in the summer preceding the term, when budgets are being set.

There will be a day-by-day schedule posted in the Theatre Production Home Room,

which will show any schedule changes and other events such as music juries.

2. The overall production budget is set by the Program Chair, Geoff George.

3. The director and designer are hired. They are often from outside the University and are

contracted before the students become involved. The director and designer will discuss

the production concept and consult other artistic personnel.

4. The production is staffed with the key production people (see job descriptions in Section

V). This is done by posting the positions and the students apply for the one(s) they are

interested in. The positions are allocated by the Theatre Production Program Chair.

Usually the positions of Technical Director, Production Manager, Stage Manager and

Department Heads are posted and filled for the full year during the first week of school.

SECTION IV


In cases where more than one person applies for a position, the Program Chair will make

the final decision, usually based on academic performance in the relative area(s). This

production team will read the script, meet with the creative staff (director, designers) to

discuss the production concept and establish a tentative production schedule. The

productions are also supplied with a rough budget which they will use as a reference in

their costing process.

5. Then there is the CONCEPT PRODUCTION MEETING, also known as the DESIGN

PRESENTATION, when the Director, Designer, Stage Manager, Production Manager

and Technical Director meet with the Department Heads to:

Explain the concept of the production to the production staff;

Confirm the production schedule;

Outline the “Production Week Schedule” (the week leading up to opening night).

6. Now the Production Manager and Technical Director working with each of the

Department heads cost the show, before construction begins or any materials are

purchased. If the show as designed proves more expensive than budgeted, then cuts must

be made, or more money allotted. It is at this point, when the costing process has been

completed, that the Production Staff may be said to have “signed up” to do the show.

7. Then construction and assembling begins in all areas (sets, props, and wardrobe) and

rehearsals begin.

8. During this phase there will be production meetings three times a week to:

Make sure that the schedule is being followed (deadlines or milestones met) or

needs to be revised;

Review notes generated in rehearsal;

Insure budget guidelines are being met;

Allow each department head to give a progress report and voice concerns;

Give everyone involved a chance to ask questions and/or advice in an open

forum;

Make sure that each department knows what it should be doing and what other

departments are doing (i.e., make sure that everyone is still communicating).

9. Notes generated at these meetings, as well as the rehearsal notes, production schedule,

rehearsal schedule and crew calls all are available through BlackBoard.

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NOTE: During this production time every student is still required to attend

classes and meet their class commitments.

10. Production Week (2 weeks actually)

a) The scenery is installed in the performance space.

b) Final set painting is done.

c) Hanging, Circuiting and Focusing of luminaries.

d) Installation of audio equipment

e) Actors/performers on stage.

f) Level & Cue setting.

g) Cue to cue

h) Technical Rehearsal (for all technical aspects).

i) Performers’ rehearsal(s).

j) Dress Rehearsal (usually the day/evening before opening).

k) Preview (usually an invited audience is in attendance).

NOTE: Production week begins two Mondays before an opening night. Theatre Production classes temporarily halt at this point – elective and English classes continue – you are expected to attend classes.

The final dress rehearsal is considered the first performance with the

following rules:

• No visitors backstage.

• All actors backstage.

• No actor is to be in hallways or outside in makeup or costume.

• Production starts at designated time.

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11. The Show Opens and Runs – Public Performances

NOTE: As with rehearsals it is very important that you be on time, even early. Again, no visitors backstage!

12. Strike the Show - taking it down and dismantling it, storing it and/or returning things

that have been borrowed (props, costumes, lights etc.). This will involve all Theatre

Production students. This is the most dangerous part of a show because the sets are

“coming down” and people are physically and mentally tired.

The strike begins at the earliest convenient time after a show closes under the

supervision of a TP staff supervisor. The strike policy is as follows: The Production

Manager, in consultation with the Technical Director and the Shop Supervisor, shall

organize the strike. The various crews shall be staffed from the available student body as

selected by the committee, who shall attempt to ensure that no student shall work more

strike hours than the average for the year. Please note: Participation on strike crew is

not voluntary; all students must attend.

13. Debriefing for production staff should be done within a couple of days of the end of the

show. This will be an hour-long session with all students and interested staff in

attendance. Debriefing is intended to be a learning exercise – What and how can we do

things better next time?

Communication

All the job descriptions in the world are no guarantee that a good job will be done. It’s up to you to

do your individual job properly and to cooperate with the other members of the production team.

Meetings are an integral part of getting a show mounted. A meeting doesn’t have to be big, formal

or long. In fact, the smaller, the more relaxed and shorter it is the better! But if people don’t get

together once in a while to let others know what they are doing or if there are any problems, a

show will fall apart.

Throughout the entire show organization, a network of communication must be kept going, for

example: department heads meeting with the director (and designer) to decide what the show

should look like and how it can be achieved, and then smaller work groups meeting to plan, set

deadlines and proceed to get the work done. Preparation of accurate minutes is an important part of

any meeting. You will find a template for Production Meeting Minutes on the PM computer in

Home Room inside the folder: theatretech/templates and blank forms. This folder contains many

templates and blank forms useful for many areas.

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Apart from the formally scheduled production meetings, it is expected that all the various

department heads, along with the technical director and production manager, will hold strategy

meetings to formulate the best course of action to get the work done.

Good communication is efficient! Then the same questions aren’t being asked again and again.

Sometimes if you can’t meet with someone, leave them an email, (it is important that you check

yours often). A format for communication and scheduling, with typical blank forms, is available in

the Appendix. The student is expected to use these forms where appropriate.

Communicating with the performers and the show administrators is also important. Each group

speaks a different language and views the show from a different perspective than you, as a

production person. So you have to “educate” them about your role. Do this in a respectful and

pleasant manner. There is more about this in the next section.

Production Meetings

Production meetings happen every Monday, Wednesday, and Friday over the lunch hour. While it

is mandatory for all department heads and management to attend, any student may attend. It is a

good way for first year students to get a feel for how a show is put together. Meetings happen in

room 480 (Production office). Minutes for every meeting are available on our electronic

callboard—accessed through Blackboard.

NOTE: You must respect and ascertain what the expectations of the other party are for communication to be effective. Never assume that your expectations are theirs.

If Things Aren’t Going Well

As your Practicum proceeds, you may find that it isn’t going well at all! You may have a grievance

such as:

Breach or annulling of your original contract;

Increase in scope of your job without consultation and perhaps beyond your capabilities;

A severe personality conflict;

Losing a bid for a position;

Lack of proper notice of a call or similar situation.

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If you have such a grievance, arrange to meet with the Program Chair to resolve the issue. (It is

suggested that you think of alternative solutions before you approach the Chair.) A second meeting may

be called, to bring others who are involved into the discussion.

So what am I expected to do?

You must participate and complete the Practicum in each year in order to graduate from the

Theatre Production program at Grant MacEwan University. Essentially you work as a member of

the production team for two or more productions. Here are the basic requirements:

1. Each student must have sufficient self-knowledge to decide what the best Practicum

experience at this time in his or her life is. A student must have obtained a minimum

grade of C+ in the course relevant to the position of interest. If you need guidance in

making this decision, go to the Program Chair or one of the program instructors.

All second-year students are required to meet with the Chair in the first week of September to discuss their Practicum choices for the fall and winter terms.

2. Every student is expected to work a minimum number of evaluated hours (120 hours

per term for 1st year students, and 150 hours per term for 2nd year students) in

order to be graded. This may not be on a single production but must be spread over at

least two major productions. In the past some students had acquired all their hours on

one production and then either absented themselves during the next production week, or

worst still, “hung around” while others were working. This behavior created bad feelings

and damaged the team building which is essential to the mounting of a production. Therefore

every student must have a task during production week and those who do not find

a job on their own will be assigned one by the Program Chair.

3. You have a responsibility for record keeping. When working as a crew member or

department head, you are expected to record your hours worked and on what task. In this

way you will ensure credit for Practicum hours, but even more importantly, you and

your manager will learn exactly how long it takes to complete a task. You must ensure

that your Practicum sheets are signed off at the end of every call. Practicum "build"

(green), and "run" (blue) sheets are available in home room. Consider them equal to a

time card: no time card, no pay!

4. Your hours of work must be evaluated if they are to count towards your Practicum

grade and you are responsible for obtaining that evaluation. Read carefully the page on

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evaluation which appears later in this section.

5. You are expected to know what you are supposed to do and when/where/how to do it

(i.e., be a productive and cooperative member of the production team). You find these

things out by:

Reading the job postings. These outline the jobs available and give a brief

description of what is expected of you. You may go to the Program Chair before

or after positions are filled to ask questions.

Reading the job descriptions found in this manual (Section V) for all possible

positions (you may want to look at these to see which jobs you think you might

be interested in.

Always being aware of what’s going on with the production, rehearsal and

performance schedules. Make a habit of checking our electronic CALLBOARD.

If you don’t know, ask!

6. You are expected to conduct yourself in a manner acceptable to the program and

University. A list of rules and regulations appears in this manual under sections II, IV,

and VII. When you get into the professional world, each company will have a similar set

of expectations and rules. 7. You are expected to attend and participate in the various debriefings and production

meetings scheduled during the production period. You are also expected to participate in

the Practicum Program evaluation.

Who are the Practicum Supervisors?

The supervision and evaluation you receive during your Practicum activities is very important, and

also very expensive. Ideally you would each be paired with a professional skilled in the job you

have taken on; unfortunately the cost is too high. A reasonable alternative is a supervisor per skill

area. These supervisors, or Practicum Monitors, may be artists, technicians or managers who are

presently working in the field or who have worked in theatre, film or television in the past. The

Shop Supervisor will hire the monitors and schedule their activities in response to the production

needs and budget limitations. Of course this plan will also provide an opportunity for employer

and future employees to meet during the student’s training period.

In addition, program instructors, directors and designers are available as “consultants” to you,

helping you to solve problems, etc. While you are encouraged to take advantage of all the

resources available, please be sensitive to the many demands a production places on their time and

energy.

Your Job Description

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When a production is in the planning stages, the various positions will be posted for bidding. If

you are interested in a particular position, you must apply for it (as you would for any job). The

Program Chair will appoint from the candidates for Stage Manager, Production Manager, Technical

Director, and department heads. All other positions will be appointed by the immediate student

supervisor after consultation with the Chair. Second-year students assume the department head

positions, with first- year students acting as assistants.

There are some limited opportunities for first-year students to act in a management or head position!

Generally, all managers (production manager, technical director and stage manager) and

department heads are responsible for:

1. Budgeting for labour and materials and then controlling costs.

2. Participating in the scheduling and reporting processes of the production, as they relate

to the tasks they are responsible for.

3. Confirming with each crew member the skills, tasks and time commitment required in

his/her job. Keeping their crews working together and on schedule.

4. Compiling required paper work for production records. See Job Descriptions and

Evaluation. Applicants for Crew should bid for a position planning to attend all calls.

Occasionally students wish to make a part-time commitment to a department. On the

surface this is an unworkable situation because the Department Head is unable to

schedule calls if he or she does not know from one day to the next who is available, or

willing, to show up to work. Also the learning process is damaged. The most important

aspect of Practicum is the student commitment to taking on and completing various tasks

with excellence. The part-timer is committing to nothing and is essentially an amateur.

The goal of the program is to train the student to work as a professional and the

professional who is unwilling to commit will not be employed on a regular basis.

However, there are often occasions when a part-time commitment can be to the

advantage of both the Department Head and the crew member and to this end the

following policy has been developed:

a) The part-timer shall enter into a formal agreement with the Department Head to

work a specified minimum number of hours.

b) These hours shall be roughly scheduled in advance and agreed to in a written

contract.

c) The penalty for failing to live up to the contract is the same as that for missing a

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call.

Practicum – Evaluation

Assigning a mark for Practicum work isn’t an easy job! Because everyone is so involved in getting

the production going and staged, it’s hard to find time to evaluate your performance as you go

along. Don’t forget it, however. The evaluation process is required to receive a mark for Practicum.

This system will be re-evaluated periodically.

Self-evaluation: Students are expected to keep a running journal of their experiences, thoughts

and feelings as the practicum goes on. This may be done in the form of a notebook (make sure it's

legible), or even a printout of a blog. The idea is for students to spend 2-3 minutes per day

evaluating and commenting on their experience that day.

On the job supervision: This is evaluation from Practicum Monitors, designers, directors, etc. You

use the aforementioned Position Contract Forms. The combined results are worth up to 30 to 50%,

but many students feel the real value are the comments these professionals may make on the form;

if this is important to you, tell the monitor that you want and need their comments. A student must

have at least one evaluation for each practicum activity.

“Boss” committee: The final 40% comes from the “Boss” committee, a panel of instructors and

Practicum Monitors who will determine a mark which represents, in their opinion, the quality of

the complete body of your work throughout the entire year.

The Boss Committee FAQs Who makes up the Boss Committee?

The Boss Committee is made up of the Program Chair, the Manager of Theatre and

Stage Operations, Designers, and as many monitors as possible depending on their

availability.

When does the Boss Committee meet?

The Committee meets twice a year at the end of the fall and winter terms.

What is the mandate of the Boss Committee?

The mandate of the Committee is to take a big picture overview and assessment of

each second-year student’s work in Practicum. The committee’s evaluation

constitutes 40% of the student’s final grade in Practicum. Unlike the portion of the

student’s marks that come from Monitors and/or supervisors, the Committee

focuses more on the soft skills of the student: attitude, work ethic, leadership skills,

communication skills and the like with an eye to the student’s employability.

Whereas each student receives an evaluation for each position they hold during the

year, the Committee takes into account the student’s entire body of work.

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NOTE: The student is responsible for obtaining the evaluation. While this evaluation may be practically automatic in some cases, such as those from a Program Chair or Practicum Monitor, in other cases the potential evaluator may be quite unaware of your expectations; for example, a visiting designer who has never worked at MacEwan before. In this case the designer, on being informed after the fact that you want an evaluation, may refuse. So, decide who you wish to have marking you, have that person agree before the work starts, and then provide him or her with the properly prepared form at the appropriate time(s).

As will be mentioned in the next section, the PM, TD, SM and Department Heads are expected to

turn in a package of paperwork appropriate to their job. This package will be evaluated by the Boss

Committee and will contribute to their mark. The packages will be made up of the following:

Production Manager: a binder containing a spreadsheet of the production cost control

and final tally of the student hours spent on the production with columns for estimated,

actual, and the difference. The binder shall also contain copies of all production

schedules and the minutes of all production meetings, plus a personal Practicum Journal.

Technical Director: a complete set of working drawings prepared for the production,

plus the model or model pieces built to aid the carpenter, plus a personal Practicum

Journal.

Stage Manager: the Prompt Script with all paper work associated with the position. See

SM notes for detail. Plus a personal Practicum Journal.

Running Department Heads: a complete set of cue sheets for the head and his or her

crew, plus a personal Practicum Journal.

Building Department Heads: a record of the construction schedule, estimated and actual,

backed up with the weekly report of task and time, plus a personal Practicum Journal.

Practicum Journal

Practicum is, at the very least, a time to practice your skills and to apply the knowledge you have

gained in class. However, it should be a lot more than that. It should be a time to practice working

within a team, or to lead a team. It is also a time to learn how to think for yourself. These are life

skills and they are difficult to teach. Practicum is an excellent time to learn these life skills so long

as you are not overwhelmed by the stress of getting the show up.

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The practicum journal and the debriefings are designed to aid this learning experience. If you take

the time to write about what you have learned in practicum, the stress you encountered, your

success, your failure, you will learn. If you share your experiences during a debriefing you will

learn about yourself, about working in a team and you will help others learn about themselves.

Please give this process an honest effort.

Note: Your journal must be typed. No handwritten content is accepted. So if you haven't learned to use a computer yet, now is your chance to learn. There is a journal template in the home room computer complete with open-ended questions designed to help you overcome writer's block. See a sample in the Appendix.

Review and Appeal Processes

A student may discuss with the Program Chair, or other instructors involved, how the mark was

determined and the comments received.

The student may launch an appeal if:

Any event resulted in failing the Practicum, including removal from a crew.

The student did not receive points for work done.

The student disputes the mark given.

The following steps are required in the appeal process:

The student prepares a formal written request for an appeal hearing and forwards it to

the Program Chair within 5 working days of receiving the grade.

This is followed by an interview with the Program Chair and other students and/or

instructors if both the appealing student and the Program Chair agree. An additional

meeting may occur if more people are needed to clarify the situation. The appeal request

and interview(s) are confidential.

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The Program Chair will make a decision which will be binding within the program. This

process does not in any way reduce the appeal rights that the student has within the

University rules.

The total process should be completed within a short period of time, with maximum

discretion.

Debriefing: Looking Back on Each Practicum Experience

So often we don’t take the time to learn from our past experiences – we just walk into new

situations and often make the same mistakes (and sometimes they may be costly ones). In this

program we try to take a little time to talk about how the work experience is going and to review

each major production after it has been mounted: what went right, what went wrong and how could

the process be improved? This process is called debriefing and it happens in two ways. Once or

twice during the production period as part of regularly scheduled production meetings before

production week there is an hour scheduled during which the students will meet informally to

discuss their successes and failures up to that point in the production. Although not mandatory,

students are encouraged to participate in these informal meetings and participation will be

rewarded; see Your Grade. After the show has opened we will meet more formally as a group for 2

to 3 hours. Here is how that meeting might be conducted:

1. Opening remarks: purpose of the debriefing/expectations/agenda:

Select a chairperson and recorder [this may be a pre-arranged facilitator].

Need for little repetition and no surprises.

2. Discussion of pre-debriefing questionnaire (a questionnaire filled out by all production

people involved prior to coming to the meeting).

3. General recommendations.

4. Specific recommendations by function.

The major points discussed and all recommendations are promptly written up and distributed to all

involved. These debriefings are mandatory; students must attend and participate. Attendance is a

program requirement and repeated absence will result in Practicum failure.

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Evaluation of the Practicum Program

It has been the Program's practice to review Practicum each debriefing, often formulating changes

for the next school year. Keep this in mind when in the heat of a production.

Rules and Guidelines for Theatre Production Students

Each individual in the production has a responsibility to perform to his or her ability or beyond.

Never forget that you are but one of many individuals involved. If you let yourself down, you are

letting down others who are depending on you.

Be on Time ALL the Time This means you should be at your call at least 15 minutes early. Inform your department head or

manager if you are going to be late. A student who is late for his/her call will be called 15 minutes

into the call. The manager may deny a student the right to work on a call when he or she is late.

The manager will give all reasons for the decision at the time of dismissal. The manager may

request that a student be replaced on a project if he or she continues to be late. The Practicum

instructor will make the final decision on this matter.

Missing a Call It is a custom of the theatre that one never misses a rehearsal, a performance, a costume fitting, a

dress parade, or a crew call. It is taken for granted that you can accept this rule without reservation.

A student with a conflict who does not give reasonable notice of absence, so that a replacement can

be found, or the call re-scheduled, will be recorded as having missed a call. (A last-minute absence

is the most serious failure and the only excuse is a major emergency, such as illness or accident.)

The second missed call without reasonable excuse will result in failure of the Practicum.

Should a student miss a major rehearsal or performance, he or she will fail Practicum, even though it may be the first offense.

Bidding for Jobs All positions are posted for bidding. The successful applicant is briefed on skills needed and the

approximate time commitment. At this time all time conflicts are examined and both parties agree

that the position can be filled. At the outset, point value is confirmed.

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Posting Calls on the Callboard After positions are filled, all calls are made on an activity schedule which is posted on the call

boards in Home Room (Room 191) and on BlackBoard. This posting should happen no later than

24 hours preceding the call. A good manager will have contacted crew members before the

schedule is posted.

Time Sheets All students are expected to hand in their hourly time sheets at the end of each call for sign off.

Department heads are advised to keep weekly master sheets of hours worked. These will aid in the

scheduling of work remaining.

Special Projects Before a student starts on a special project, he/she must write up a proposal and submit it to the

Practicum Supervisor, along with any endorsements that promote the project. The proposal should

include: project description, time schedule, skill level, proposed hour value and material costs (if

any).

Job Descriptions Students are expected to carry out their jobs as described in this manual.

Grievances and Appeals Students are expected to follow the procedures for grievances and appeals outlined in this

manual.

Keep Informed Check designated call boards daily for special notices. Make it a habit.

Negligence in reading the call boards is not an excuse for failure to complete or begin an

assignment and/or for missing a special call.

HINT: Always initial a notice that has been posted if it pertains to you – then the sender knows you have read it.

Alcohol and Drugs Any student who comes to a class or a call under the influence of drugs or alcohol will be

deemed a liability and sent home, resulting in a missed call. Use of illegal substances is cause

for immediate suspension and/or expulsion from the University.

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Food and Drink Do not leave pop cans, bottles or any trash in any of the work or performing spaces. The only

liquid allowed back stage is water in a sealable bottle. No food or drink is to be brought into,

stored or consumed in work areas including but not limited to: the scene shop, paint shop, props

shop and props storage, wardrobe and wardrobe storage, performance spaces, wings, the house, the

booth, dressing rooms, and the grid.

Practice Good Safety Obey any specific rules for the work areas you use (see general safety questions in Section VII).

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SECTION V: PRACTICUM

JOB DESCRIPTIONS


SECTION V


SECTION V PRACTICUM – JOB DESCRIPTION

PLEASE NOTE: The descriptions listed here are for generic positions. Although we try to follow these job descriptions as closely as possible, keep in mind their general nature. Actual duties during practicum may vary from show to show.

The jobs of Production Manager (PM) and Technical Director (TD) may vary from production to

production, and from theatre to theatre. Make sure you know who is responsible for what.

Generally speaking for the Practicum program, the Production Manager is concerned with

budgeting, cost control and overall scheduling, (who, what, when). He/she is most active prior to going

into rehearsal. The Technical Director is a technical problem solver, organizer–manager, and planner,

(how, when).

All managers, TD, PM, SM and department heads, are required to hand in various forms of

paperwork; for example, prompt script, cost control documents, cue sheets, etc. and shall be

evaluated on the quality of this material. Read the Job Descriptions carefully!

Production Manager (PM)

Please read the note above. The Production Manager (PM) is responsible for all the production

preparation for a show.

General areas of responsibility:

Budgeting:

1. Assesses costs (building and running the show), monitors and controls costs.

2. Discusses budgeting requirements with the Designers, Technical Director, and consults

with the Program Chair on this matter.

3. Maintains the Cost Control spreadsheet: enters receipts as they are presented.

4. Arranges for petty cash floats.

5. Keeps a photocopy of every receipt.

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6. The Production Manager must turn in a binder containing a spreadsheet of the

production cost control and final tally of the student hours spent on the production with

columns for estimated, actual, and the difference. Good record keeping is an important

part of his/her job.

Scheduling:

7. Produces a detailed production schedule for each production.

8. Schedules the use of spaces and personnel.

9. Revises the scheduling when necessary and ensures the changes are communicated to all

affected.

10. In consultation with the Technical Director, produces the schedule for the install week.

Communication:

11. Designs and maintains a communication system that keeps all people properly and

adequately informed and enables feedback.

12. Acts as liaison between production personnel and those responsible for publicity.

13. Calls and chairs the production meetings.

14. Insures that an accurate record of production meetings is kept and posted to the call

board.

15. Creates and posts the master Contact Sheet.

16. Meets with the program chair daily to report updates of progress.

Hiring: Assesses and acquires adequate staff (confirms the skills and tasks required in his/her job and the

time commitment), dismisses an employee who becomes a liability, writes job descriptions for all

positions.

17. Determines, with input from the technical director and the department heads, the manpower

requirements for the show.

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18. Chairs the crew selection meeting: records the outcome and posts the crew lists.

19. Maintains a list of students who have not to date received a first choice in crew

assignments.

20. Keeps abreast of manpower problems (absences, sickness), and adjusts crew assignments

as necessary to ensure the successful completion of the build.

Supervising: Ensures that employees are working well and motivates them, detects communication breakdowns

and corrects them, negotiates changes in scheduling and responsibilities among departments, calls

meetings when necessary and reconciles conflicts.

21. Meets daily with each department head.

22. Maintains a copy of all daily progress reports.

23. Maintains a critical eye toward safety and housekeeping.

24. Prepares the Emergency Preparedness Plan and communicates it to all crew and cast.

The Stage Manager (SM)

The stage manager maintains the production

mechanism during rehearsals and

performances of the show. The Stage Manager

(SM) “guards” the stage – he/she is

responsible for the movement of all

performers, sets, props on and off the stage and

for communication with the production

personnel who effect the stage (lights, sound

etc.).

This job has been called “the most important and thankless job in the theatre”. The stage manager

is the checkpoint for all aspects of the production. He/she is accountable for the smooth run of the

SECTION V


show once the dress rehearsals have begun. The Stage Manager is also the official communicator

out of rehearsals to the technical and design personnel.

Prep Week

1. Becomes thoroughly acquainted with the play and the concepts of the Director. Knows

the particular theatre (house and backstage areas, exits, emergency lights, fire

extinguishers, fuse boxes, telephones etc.).

2. Assembles and maintains an up-to-date prompt book (in a three-ring binder) including

sheets, plots, reports, and records necessary for the actual technical and artistic operation

of the production. This includes the designer’s ground plans to scale showing furniture

arrangements and heights of units; a properties list, costume list, a list of the actors, and

their addresses and telephone numbers; rehearsal schedule; production schedule; script

and blank pages for notes.

3. Makes appropriate use of his or her assistant stage managers by dividing the prep week

word load logically and equitably.

4. Before rehearsals chalks or tapes outline of the set on the stage floor or rehearsal room.

Rehearsal Period

5. After consultation with the Director, calls and posts all rehearsals and calls related to the

production (such as costume fittings). Posts any scheduling changes as soon as possible.

6. Establishes rules for meal and coffee breaks during rehearsals. Knows where actors are

at all times during the rehearsal – keeps a check-in list for actors and crew. Provides

coffee and tea during rehearsals and performances. Establishes rules regarding smoking,

eating and drinking in the rehearsal areas with the Director and cast.

7. Establishes prompting policy with Director and maintains this throughout rehearsals and

performances. Prompts the actors when they need lines. May operate video

camera/tapes.

8. Arranges for access to rehearsal /stage areas if building not open. [No visitors allowed

into rehearsals unless pre-arranged permission received from the Director and cast.]

9. Records all parts of the production that require action by the production staff. Acts as the

main official liaison between the rehearsal and the rest of the production and design

personnel. Communicates any changes that will affect the production personnel.

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10. Attends all production meetings and presents the rehearsal notes.

11. Communicates any changes to the blocking, script, props, costumes, lights etc. to all

who are affected by the changes. E.g.. Checks the placement of props on and off stage

with the Property Crew head. E.g.. Notifies the Technical Director or Production

Manager of any problems and/or needed changes in the design of sets, costumes,

properties, lighting and/or rehearsal changes.

12. Times length of scenes, acts, and intermissions.

13. Takes all necessary precautions (along with members of the cast) to see that safe and

clean conditions exist on stage, backstage and in the rehearsal halls.

14. Double-checks scenery, costumes, lights and properties, asks for stage to be cleaned if

necessary. Prepares pre and post checklists for all crews (including diagrams of

placements of scenery and props). Sees that these assigned tasks are completed.

Reminds running crews to wear dark clothing.

15. In consultation with the Director, assigns dressing rooms for the cast.

16. Accounts for all actors prior to the beginning of the rehearsal. Informs actors of

locations of all properties and where they should be returned.

17. Leaves the rehearsal and performance areas in order after rehearsal.

18. Keeps a list of things to do. Does not trust memory – there are too many things to

remember!

The Run

19. During dress rehearsals and performances gives a “Half-Hour” call to all performers and

crew, then follows with 15-minute, five-minute and “beginners” or “places” warnings.

20. Before giving House manager the OK to open the house checks to see that the set, props,

sound and lights are ready.

21. Acts as liaison between Director and Designer and technical staff. When the Director

requests any technical changes, gets the approval of the Technical Director before

making the change official.

22. Is prepared to maintain backstage discipline. This includes everything from keeping the

cast and crew quiet backstage to enforcing University safety regulations.

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23. Informs the cast/crews of backstage policies: who keeps areas, costumes, props in order,

where safety equipment is located, etc. Arranges for dressing rooms to be unlocked prior

to rehearsals and performances.

24. Makes sure that the cast and crew know the strike policies of the Program and that the

strike begins following the close of the final curtain. Makes sure that the Technical

Director and the crew heads have organized the activities of the strike.

25. Turns in the prompt script and other supporting material to the Program Chair.

Technical Director (TD)

Please read the note at the beginning of this section regarding the roles of the Production Manager

and the Technical Director. Often there are problems defining these two positions and they overlap.

1. Oversees the progress of building and striking a show (sets, props, costumes, sound and

lights), so that activities are done logically and safely.

2. Places orders with the Production Manager for all supplies and materials needed prior to

the actual start of construction.

3. Schedules and supervises crew and intra-crew meetings.

4. Directly supervises all technical and dress rehearsals.

5. In conjunction with the PM, establishes crews and posts crew calls.

6. Establishes schedules and deadlines for completion of set, costume, and props

construction.

7. Actively supervises the building, painting, and rigging of scenery; the installation and

operation of all lighting and sound equipment and all necessary modifications to the

stage and/or theatre lab for the production, with proper attention to the safety of crew

members.

8. Schedules and supervises the load-in and initial install in the theatre.

9. Prepares for the rehearsals. Attends, consults and assists at technical and dress

rehearsals.

10. Trouble shoots and makes notes regarding technical problems.

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11. Makes decisions regarding necessary changes required in consultation with department

heads, production manager, designer and director.

12. Runs the daily ‘notes’ sessions following technical rehearsals.

13. During final rehearsals is responsible for the training and supervision of all backstage

personnel. (In consultation with Stage Manager.)

14. Is available to advise and assist the backstage personnel if problems arise.

15. Supervises and takes an active part in the strike of the production.

Organizes specific strike procedures.

Takes measures to ensure the safety of those involved in the strike of the

production, including proper scheduling of activities.

Organizes (with the crew heads) the storage of all production equipment and the

return of all borrowed items.

Sees that the stage is cleared of debris and that all curtains and lighting

equipment are returned to their original positions.

Keeps an up-to-date accounting of supplies used, tools lost or broken, the

condition of borrowed units, and costs incurred.

16. Collects and collates all final crew reports. Assists the Production Manager in keeping a

record of hours worked by crews and any special problems encountered.

17. Turns in a complete set of working drawings prepared for the production, plus the model

or model pieces build to aid the carpenter.

Department Heads – General Duties

Department heads perform under the direct supervision of specific course instructors and monitors.

When necessary, they produce working drawings but they make no design or cue changes without

the approval of the Designer or Director.

Department Heads are responsible, along with PM and TD for budgeting, scheduling and reporting

within the production organization. Additionally, they make sure that their crew members

understand what is expected of them and perform their duties well. Department Heads ensure that

their crew has the resources necessary to do their work and ensure a safe working environment.

Each department head:

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1. Becomes acquainted with the play.

2. Obtains necessary plans and discusses them with the Technical Director or Designer. In

consultation with the Production Manager and Technical Director, plans a work

schedule.

3. In consultation with the PM and TD breaks their job down into tasks which are then

budgeted for material cost and labour needs.

4. Knows what materials are on hand and buys/borrows those required to complete the job.

5. Ensures that all safety regulations affecting their work space are understood and

followed by their crews.

6. Is responsible for managing their petty cash float and remits all invoices and packing

slips to the PM.

7. Attends all production meetings and gives accurate and complete progress reports.

8. Attends at least one rehearsal to become familiar with the production.

9. Executes designated drawings.

10. Checks with the Stage Manager for times their crew has to attend rehearsals and

communicates these times to their crew.

11. Keeps an up-to-date list of crew members and their addresses, email and telephone

numbers.

12. Sees that all work areas are clean and that they are left clean after each work call.

13. Reports all lost, stolen or broken tools immediately to their monitor or to the manager of

theatre operations.

14. Ensures that tools are returned to their proper storage areas.

15. Works with the Stage Manager & Technical Director in pre-planning the necessary

scenery, costume, lighting, sound and/or property changes.

16. Is prepared to perform repair work on damaged scenery, lights, media, costumes, etc.

17. Follows and enforces backstage etiquette.

18. Informs and reminds all crew members of the date and time of all build and show calls,

including the strike.

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19. Agrees that their work is not completed until the stage and respective areas have been

returned to normal. This includes returning borrowed items from their area of

responsibility.

20. The crew head is directly responsible for his/her particular area. He/she must keep a

level head and keep track of what is happening.

21. Running department heads turn in a complete set of cue sheets for themselves and his or

her crew. Building Department heads turn in a record of the construction schedule,

estimated and actual, backed up with the weekly report of task and time.

Head Scenic Carpenter and Head Stage Carpenter

NOTE: Please read about the general duties of all department heads.

1. Works with the TD/PM to devise a practical schedule for the completion of all scenic

elements.

2. Supervises all work of the Carpentry crew, ensures that all working drawings are

executed, that all measurements are correct, as per the drawings, and that all deadlines

are met. Makes no changes to the required sets without the Director, the Designer and

the TD’s approval.

3. Organizes the shop scenic construction crew. This includes familiarizing the crew with

the work schedule, the safe operation of the equipment and any safety regulations they

should know. As well, assigning specific tasks to the crewmembers as the build

continues.

4. Ensures all carpentry work areas are kept

clean and tidy. This includes the shop as well as

the stage areas and any hallways or other rooms

used by the carpentry crew.

5. The Head Stage Carpenter and crew prepare

the stage for the setup by moving borders and

legs to necessary positions, removing curtains

and other soft goods as needed. Sweeps and

mops the stage area and checks with the Stage

manager and TD with regard to the preparation

of the stage surface (for actors, dancers, etc.).

6. The Head Stage Carpenter works with the Stage Manager and the TD to rehearse the

stage carpenters in the routine of the scene shifts.

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7. The Head Stage Carpenter arranges for Stage Carpenters to be available and equipped to

move and setup scenery for rehearsals and any lighting focus and cueing sessions.

Assigns specific duties to members of the crew and makes a written list of what each

person is to do.

8. The Head Stage Carpenter, on performance nights, checks in with the Stage Manager at

the appointed time. With the crew, checks to see that all set and masking units are in

their correct positions. Makes all necessary adjustments and repairs to the set pieces.

9. The Head Scenic and Head Stage Carpenters are responsible for all scenery at the strike

of the production. They inform their crews where and how to store, salvage or dispose of

the scenic elements or useable parts of them.

10. During the strike, the Head Stage Carpenter ensures safe working conditions prevail.

Warns the crew of the variety of work being done and then takes appropriate

precautions.

11. Before leaving the strike, makes sure all tools are accounted for and all hardware has

been returned to its proper storage locations. The Head Stage Carpenter leaves the stage

and its areas in its original condition.

12. The Head Scenic Carpenter and/or Head Stage Carpenter submit daily reports to the

Technical Director.

Head of Props


Although the props course isn’t offered until the second year, you may find yourself working with them in Practicum during your first year. George Griffths, the instructor for the props course may be available as a consultant during the Practicum session.

The Props Head is responsible for borrowing, renting or making props and sees that these items are

properly itemized, stored and returned in good condition. He/she organizes and places the prop

tables, assists the Stage Manager in organizing the property shifts and works during performances.

He or she also co-ordinates the gathering of rehearsal props with the Stage Manager. These props

will be obtained by the crew, props or stage management—whichever is most appropriate at the

time.

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1. Makes a complete list of all properties

required in the production (set, hand and

food props) and checks with the Director to

make sure all are needed.

2. In conference with the Technical

Director/Director, sets the deadline for

obtaining and building the props.

3. Makes a detailed budget for the purchase,

construction and rental of props. Assigns the

tasks of obtaining the props to crew

members.

4. Supervises the work of making props.

5. Keeps a record of each borrowed or rented

prop, including a detailed description, its value, the lender’s name and address and any

special agreement regarding the its use.

6. Before purchasing any props, sees whether there is anything suitable in the props or

storage rooms.

7. Keeps all props organized and safely stored.

8. Keeps the props petty cash float.

9. Checks with the Stage Manager as to when the crew should attend rehearsals.

10. In consultation with the Stage Manager, lists the props and characters handling the items

in each scene (for notation in the prompt book).

11. Prepares the following for the crew:

a) A list of responsibilities of each person for placing the properties during each

rehearsal and performance.

b) Diagrams for the placing of props on and off stage.

c) A list of crew assignments for each scene.

d) Includes list of mop and housekeeping duties.

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12. Is on time for rehearsals and performances. Checks in with the Stage Manager at the

designated time.

13. Checks all props at least an hour before curtain time for placement, damage etc.

14. Arranges for transportation of all props that were borrowed or rented. Returns all props

to lenders promptly (usually the first week day after the closing). The Props Department

Head’s work is not finished until all borrowed or rented props have been returned and all

theatre props have been properly stored.

Head of Paint


The Paint Head, or Scenic Painter is responsible for painting and finishing on sets, some props and

occasionally costume pieces. This means having a familiarity with various a) potential physical

and chemical hazards (flammability, corrosion, and toxicity), b) types of paints, dyes, sealers,

adhesives and solvents, and c) standard methods of application for the theatre.

1. Consults with the production manager on show costing

2. In conjunction with the designer, production manager and technical director, establishes

all finishes to be used.

3. Estimates the types and quantities of paints and other materials required to realize the

design.

4. Creates the buy order and supplies it to the

Technical Director.

5. Consults with the Designer in interpreting

sketches and prepares colour samples.

6. Establishes and maintains crew calls and

schedule.

7. Maintains a clean, clear and orderly paint

shop with all paints clearly labeled as called

for in WHMIS regulations.

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8. Creates a touch-up kit for on-set repairs.

9. Maintains an inventory on paint and equipment supplies.

10. Attends technical rehearsal(s) to check on finishes and performances (ie. light reaction,

abrasion/abuse, detailing).

11. Lays out and cuts stencils as required.

12. Checks to ensure that First Aid supplies are complete, and that a MSDS binder is

available.

13. Posts warning notices around dangerous (volatile, flammable, toxic) materials or

processes, e.g. “POISON”, TOXIC FUMES”.

Head Lighting Technician


1. Meets with the Technical

Director/Lighting

Designer/Director regarding

the lighting design and work

schedule.

2. Checks the lighting plot and

instrument schedule and

prepares it for hanging by

creating hanging cards.

3. Obtains a current house

equipment inventory and checks it against the plot.

4. Arranges for rental of equipment called for on the plot but not included in the house

equipment inventory.

5. Supervises all work of the lighting crew, ensuring that all lighting plans are executed

and that the deadlines are met.

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6. During the hanging and circuiting of lights, supervises the installation of all stage

equipment and accessories.

7. Maintains circuiting/dimmer information in the instrument schedule and dimmer usage

sheets indicating what circuits/dimmers are in use.

8. Keeps all paperwork up to date, including but not limited to: instrument schedule,

channel assignments, dimmer/circuit usage, ‘magic’ sheet, pre and post-show check

lists.

9. Makes no changes to lighting design without director’s, designer’s or technical

director’s approval.

10. Familiarizes the crew with the work schedule, operation of equipment and any safety

regulations they should know.

11. Familiarizes themselves with the operation of the lighting control system.

12. For rehearsals and performances, checks in with Stage Manager at designated time.

13. Carries out all pre- and post-show check lists before and after every rehearsal and

performance run including but not limited to: channel check, focus check, accessories

(gel, gobos, etc.)

14. Before the house is open to the public makes a walk around of the backstage area to

insure all equipment is functioning properly and that the area is safe.

15. Operates the lighting control system during level set, rehearsals and performances.

16. Provides backstage work-light and safety lighting as necessary or as requested by stage

management/technical director.

17. Provides video monitors as necessary.

18. Provides electrical power and lighting to the orchestra as necessary.

19. Provides electrical power to any backstage equipment.

20. Wires practical properties and special effects as necessary and follows Canadian

Electrical Code best practices.

21. Is responsible to set up and control atmospheric effects such as misters, hazers, foggers

and water effects as required.

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22. Keeps as much cable off the floor as possible. Carpets cable that must be left in traffic

areas. Leaves all work areas clean and tidy.

23. Maintains all lighting equipment and accessories in good working order during the run

of the show.

24. Returns all lighting instruments and equipment after show closes.

25. Turns in crew reports, if required.

26. Ensures that the emergency lighting system is working in all areas in and around the

performance space.

27. Ensures that the “Fire” or “Ghost” light is in working order and available to properly

secure the performance space when the stage is not being used.

28. Makes certain that follow spot operators are properly trained and performing as

required. Reviews the operators’ performance.

Head of Audio


1. The Sound Department Head is responsible for all sound effects, mechanical or

recorded, and for operating the sound console for live sound reinforcement.

2. Works with the college equipment and keeps a record of the status of that equipment.

3. Assigns specific duties to the crew members.

4. Meets with the Technical Director/Sound

Designer/Director regarding the treatment of sound

and music in the production: actual sound, recorded

sound, actual music, recorded music, pre-show

music, intermission and post-show music. If

musicians are used, makes arrangements with

director to be present at rehearsals.

5. Makes a list of all sound and music effects

http://www.facebook.com/photo.php?pid=6865878&id=736893734

SECTION V


needed and how to obtain them. Knows what equipment is available and what can be

used as back-up.

6. Supervises all work of the Sound Crew, ensuring that all plans are executed and that the

deadlines are met. Is present for recording sessions.

7. Familiarizes the crew with the work schedule, operation of equipment and any safety

regulations they should know.

8. Makes no changes to sound plan without Director’s, Technical Director’s and Sound

Designer's approval.

9. Makes a detailed and complete sound and music cue sheet in collaboration with the

Stage Manager. Lists the placement of sound and music material on and off stage.

10. Makes a written instructional sheet and/or interconnection diagram of the sound

patching for the production.

11. Makes a detailed written or diagrammatic record of the complete working status of all

equipment used in the show, especially the console, any equalizers, and any effects used.

12. Backs up all final copies of the show master media and keeps back-up in a safe place.

13. Checks all sound and music equipment at least one hour before curtain time.

14. After each performance, stores all sound equipment in designated storage areas. Double

checks to see that all equipment is secured and locked up. Returns all borrowed media

and equipment the first week day after the close. Gives recorded media to the Technical

Director.

15. Turns in crew report if required.

16. Sets up the communication system and ensures it is correctly functioning prior to each

show.

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Wardrobe Head


The Wardrobe Head is responsible for the making and/or alterations of production costumes, or

renting or borrowing them. This includes gathering information on the type and measurements of

costumes needed. He/she is responsible for checking out and in costumes for all University

productions. He/she assigns specific duties to his/her

crewmembers.

1. Reads the play and meets with the

Technical Director/Costume Designer/

Director regarding costumes needed in the

production.

2. Makes a complete list of costumes

demanded by the script and the

Designer/Director and when they will be

needed (rehearsal and performances).

3. Supplies rehearsal skirts and accessories

(e.g. hats, kneepads) as necessary for rehearsals.

4. Prepares the Costume Plot in conjunction with the Costume Designer.

5. Supervises all work of the Costume Crew, ensuring that all plans are executed and that

the deadlines are met.

6. Keeps an up-to-date work schedule.

7. Schedules pulls with the costume designer and the lending institution.

8. Accompanies the Designer on all costume pulls.

9. Notes where costumes were obtained and the as-received condition of garments.

10. Makes no changes to design without consulting the Director/Designer.

11. Is present for all fittings.

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12. Posts costume fittings and/or measurements on the call boards outside the Theatre,

Theatre Lab and homeroom.

13. Keeps costume room clean and organized.

14. Compiles a detailed and complete actor-by-actor list of all articles worn.

15. Keeps an up-to-date list of crew members and actors.

16. In consultation with the Stage Manager, checks the need for quick costume changes and

prepares for these using DON/DOFF sheets.

17. Attends at least one rehearsal before opening to become familiar with the production.

18. Assigns dressers if necessary.

19. Has costumes ready in dressing rooms before actors arrive.

20. Posts dressing lists where actors can see them.

21. For dress rehearsals and performances, checks costumes at least three hours before

curtain time.

22. Checks in with Stage Manager at designated time.

23. After each performance ensures soiled costumes are laundered.

24. Performs a detailed inventory of production costumes and accessories at the earliest

possible opportunity after the last performance. Informs the production manager of any

missing pieces.

25. Ensures all borrowed costumes are accounted for, dry cleaned, and returned to lender in

an appropriate fashion and at the earliest possible opportunity.

26. Returns all costumes to wardrobe storage as soon as possible. Maintains and returns the

list of borrowed costumes and accessories to the Technical Director.

27. Turns in crew reports if required.

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Design Assistant


1. Meets with the Designers (set, costume and lighting) on a regular basis.

2. Provides library and internet research as required.

3. Assists in the preparation sketches and conceptual drawings.

4. Assists the Set Designer in the preparation of scale models and prototypes.

5. Attends costume parade and assists with note taking.

6. Assists the Costume designer with pulls.

7. May be assigned a specific set piece, property or costume piece to design according to

their interest and skill level.

8. Assists the Lighting Designer and Set Designer with preparation of any special video

and/or film components.

9. Assists the Designers by accompanying them on shopping trips.

10. Takes and gives design notes and questions at production meetings when the Designers

are unable to attend.

11. Does not make any design decisions outside of the scope given them by the Designers.

12. Attends rehearsals as required by the Designers and assists with note taking.

13. Acts as liaison between the Designers and Department Heads as required.

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Theatre Lab Technician


1. Meets with Chair of Theatre Arts and receives the list of scheduled events for the term

2. Discusses the technical requirements with Theatre Arts faculty and the Theatre

Production Chair regarding the event.

3. Familiarizes themselves with the operation of the lighting and sound controls.

4. Maintains the house configuration lighting plot.

5. Hangs, circuits and focuses additional lighting equipment required for an event.

6. Maintains the house configuration sound equipment.

7. Prepares any required sound media

for playback and/or prepares any sound

reinforcement equipment necessary for

the event

8. Prepares the house seating in

consultation with Theatre Arts faculty.

9. Maintains the space by:

10. Keeping the space clean and tidy

(house, performance space, control

booth and backstage areas including room 191).

11. Touches up paint as required.

12. Makes sure that the soft goods (curtains and drops) are protected from paint or other

spills, heat, powders or tears.

13. Sweeps and wet mopping the show deck before each performance.

14. Sweeps the floor and seating risers of the house.

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15. Provides hanging points and other rigging requirements in consultation with the

University’s Shop and Stage Technician.

16. Installs and operates video and/or film projection equipment as required.

17. Sets up safety and work lights as necessary.

18. Ensures that the audience exit lights and other safety equipment are in good working

order.

19. Reports any safety deficiencies or equipment problems promptly to either the Stage and

Shop Technician or the Theatre Production Program Chair.

20. Recruits any technical staff required.

21. Attends technical rehearsals as necessary.

22. Acts as the house technician for the 1st year Theatre Arts performances and 2nd year

performances other than the 2nd year performance season shows.

Wardrobe Tech


1. Meets with Theatre Arts Chair and receives term schedule outlining possible costuming

requirements outside of main stage productions.

2. Discusses the costuming requirements with Theatre Arts faculty regarding their event.

3. Maintains the wardrobe storage room in a neat and organized manner.

4. Schedules and attends pulls and returns by outside groups.

5. Acts as the wardrobe head for all 1st year Theatre Arts program events.

6. Organizes costuming requirements for the event.

7. Schedules and organizes the pull from storage.

8. Schedules and runs any fittings as required.

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9. Performs alterations as required.

10. Insures costumes are maintained in good condition.

11. Arranges for dry cleaning and/or laundering of costumes as required.

12. Oversees the return of costumes to storage.

13. Recruits wardrobe assistance as required from Theatre Production students.

14. Organizes the dressing rooms

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SECTION VI: LINKING WITH

USER GROUPS


SECTION VI 2012 - 2013


SECTION VI LINKING WITH USER GROUPS

Who are the User Groups?

Theatre Production students usually work with students in the performing arts programs at Grant

MacEwan University, those studying acting and music. Sometimes you may be required to work

with an “outside” company or group who will rent the Haar Theatre for its performances. You will

also communicate with the Arts & Cultural Management students, who may be involved in the

major productions staged at the University.

What do They Expect of Us?

Generally the performers expect you to meet their needs for quality technical support through:

a) Adequate preparation (research, getting proper equipment and materials);

b) Good communication; and,

c) Competent technical expertise, including the ability to trouble-shoot, provide back-up

arrangements (e.g. back-up sound media), and to cover for mistakes in the performance.

A frequent cause of frustration for those involved in producing a show is a lack of communication.

There are two major reasons for this. Firstly, although everyone is working toward one goal

(putting on the show), each person has a different role to play. Some people (e.g. the lighting

crew), may have no idea how others (e.g. artistic director) approach the show.

Everyone has to do a little teaching and learning!!

Secondly, it takes effort to communicate, and sometimes that is easier said than done! With so

many people involved (many of whom don’t end up in the same place at the same time), there may

be confusion about WHO is responsible for WHAT, and WHEN (and HOW) things are supposed

to be done. Regular production meetings help reduce conflicts and misunderstanding. It also helps

if the different parties are able to discuss the differences in “Ethics and Conventions."

Here are a few basic rules regarding your communication with other groups working on the

production:

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Get together with them EARLY to tell them about the planning and work needed for the

show. Make sure that they understand--there’s a lot of jargon that no one but Theatre

Production people relate to.

Establish what you expect from performers and what their responsibilities in the theatre

are (see list of questions for users to consider).

Tell them what is possible and what is not, and when you don’t know.

Keep in touch with them on a regular basis. And keep talking so that everyone knows

what is expected and what is happening.

Theatre Arts

Most of your involvement is with the acting

students at MacEwan. There are two

productions in the Haar Theatre, two in the

Theatre Lab, plus some workshops and labs.

You are expected to work as courteously and

inconspicuously as possible during rehearsals

and performances, e.g. take notes for cueing

without disrupting the action on stage. (See

the Practicum sections for details.) Before you

meet with the Director, give him/her the list of questions for users found at the end of this section.

You are expected to work competently: to select and use the proper equipment and to produce

good quality, synchronized, technical support.

Music

During the year you may be asked to participate in student juries, coffee houses, departmental

programs e.g., recitals (not just by students), and a Guest Series sponsored by the program. It is

your responsibility to provide:

A realistic blend of stage sound for the audience – like a record – taking into account

the type of music;

An accurate and coherent mix of sound for the musicians on stage (stage monitoring)

and what is appropriate for the performance (don’t overdo it);

Adequate light for musicians to read by.

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For more information regarding the role of the Stage Manager in Music productions, see the

Supplementary Handout material.

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SECTION VII: THE FACILITY


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SECTION VII THE FACILITY

Using Facilities, Equipment and Production Materials – Some Rules and

Regulations

General Safety

Here’s a quick list of questions for you to check every time you walk into a space:

Feeling alert? Am I in an alert, careful frame of mind? What I am doing is important – will I be careful today?

Will anybody else? Did I get enough sleep?

Leaving it all behind Have I left all food and drinks outside, in home room, or in my locker? A break is the time to

socialize, eat, and smoke.

My tools Do I have my tools with me and are they in good

working order? Are all the University tools that I

need for this job here, or will I have to interrupt my

work to collect them from another space? Will this

tie up someone else?

Do I know this space? If not, is there a supervisor who can introduce me to it?

Are there new hazards? Look around – are there new hazards lurking? Are there combustible materials? E.g. open or

closed gasoline, paint-thinners, fabulon, styrofoam near potential heated area.

!!! NOTE: Air exchange in this building is a BIG problem !!!

2012 - 2013 SECTION VII


Safety and emergency equipment WHERE IS THE SAFETY AND EMERGENCY EQUIPMENT IN THIS SHOP AND DO I

KNOW HOW TO USE IT? (Fire extinguishers and hoses, first aid kits (adequately stocked?),

special safety equipment and clothing).

Special safety

Am I obeying safety rules for this space? What type of fire extinguisher would I need if I got into

trouble? How long has this filter been used? Have I sufficient hearing protection? Do I need

gloves for this job?

Am I protected? Are my clothes, shoes, hair, jewelry & accessories hazardous?

Do I Need instructions? Do I really know how to use this thing? Should I ask for help before it is too late?

Smell, smoke, and noise? Is it supposed to be like this in here? What is “cumulative brain damage/hearing loss”?

Was someone else here first? Is this equipment set up for someone else? Can I go ahead and use it?

Do I have enough room? Is there enough room for me to work too? What happens when I get to the next part of the job?

What about adequate light and power?

Lifting? Am I lifting properly? Do I need help moving this? Am I tired?

Distracted? Am I distracting someone (or others) who are already working here?

CLEAN UP! Did I put things away and leave the space as I would like to find it? Have I eliminated all safety

and fire hazards? Wood or foam dust swept up, blades protected?

Power off, lights off, and lock up? DID I TURN OFF ALL EQUIPMENT AND LIGHTS? Should I lock up? Yes – if I am the last

person here today.



Theatre Production Work Areas

Before using the shop areas, all Theatre Production students are required to have a Standard level

First Aid certificate and the Footings course TPPR 111 (offered during September). You may feel

that you want more instruction from and instructor or a Practicum Monitor before working in these

areas, or with specific tools. DON’T HESITATE TO ASK!!!

For all shop areas:

1. Scheduled Classes

There is usually a weekly schedule posted. When a class or group is scheduled to use

the shop, do not plan to do any work there. Enter to borrow equipment only with the

permission of the attending instructor.

2. Scheduled Practicum

If the area is scheduled for supervised Practicum, you may use the shop with the

permission of that supervisor.

3. Unscheduled Use

Sometimes the space is not used for the full time period, or not at all. If there is no

scheduled user but there are individuals using the space, ask permission of the

instructor. If the shop is vacant and not scheduled for use, you may use it for your own

purposes, but DO NOT USE THE STATIONARY TOOLS WITHOUT

SUPERVISION.

4. Bookings for Evenings/Weekends

To schedule a shop area in non-regular hours (Saturdays, Sundays or evenings), you

must make the necessary arrangements with Geoff Bacchus or the instructor concerned

well in advance of the desired time (see TP Policy within Section II of this manual).

5. Personal Work Clothes, Tools and Safety Equipment

Bring some of your own tools – these will be specified for each shop.

6. University Tools

Never use any University tool unless you have been instructed in its proper and safe

operation. All tools should be returned to their “standard operational status.” For

example, the table saw will be left with a ripping or cross-cut blade set at a right angle,

not left with dado, shaping or other specialty blades in place. All hand tools should be

returned to their proper storage position after use. When in doubt ask.



NOTE: Report any breakage or damage immediately to your supervisor –

THIS IS A LEGAL RESPONSIBILITY!

7. Supplies and Stock

The only supplies and stock available to everyone are in the garbage. All the rest

belongs to someone else and you must check with the supervisor before using.

8. Working on Projects

Set yourself up to do a particular job in the right place. For example, don’t glue or

fasten on the table or radial arm saw benches. When in doubt ask. Unfinished projects

must be labeled and properly stored as per the supervisor's instructions. Please treat

others’ projects with respect.

9. Cleanup

Put away your tools sweep up all dust and garbage and if you are the last one in the

shop, lock up and turn off the lights.



The Scene Shop (Room 381)

NOTE: Please Read FOR ALL SHOP AREAS (pg. 95), also GENERAL SAFETY

(pg. 93)

Supervisor: Geoff Bacchus, your

instructor, or Practicum monitor.

Access: Ving-card lock, Geoff George,

Geoff Bacchus, or your instructor, or

Practicum Monitor.

What’s there? This tall room is used for large-scale

construction and other University projects

requiring the use of power woodworking

tools. It is a very busy and potentially

dangerous place when a full class is

present. There are work benches, shelves with lumber and plywood (both new and scrap),

hardware (nails, screws, etc.), several large power tools, a cabinet of hand tools, and safety

equipment. Some expensive blades and bits have been locked up for security. Check with the

supervisor for access.

Safety: Steel-toed safety shoes are required as are safety glasses or goggles. Please dress simply – no

loose clothing. If you are a potential threat to the safety of yourself or others, you will not be

allowed to work in this room! Avoid loose sleeves (long sleeves are recommended), high-heeled

shoes, bangles, loose jewelry and scarves. Loose hair should be safely secured. Bring your own

safety glasses and wear them when needed. The shop has respirators, face shields, ear plugs, ear

muffs, and some common safety glasses for you to use.

NOTE: There is no use of stationary power tools without supervision!

A special key is required to supply power to the stationary tools--all outlets. An emergency shutoff

is provided by the two doors to the shop and the Shop Supervisor's Office. See notes under all

shops regarding use of University tools.



The dust extraction system should be on when these major tools are used.

Classes: There are scheduled classes in this room – check the bulletin board outside the door for the times

when it is occupied. See guidelines for using the shop during unscheduled time periods.

Clean-up: Whenever you leave this space, leave it clean and safe for the next user. If you have to leave

something unfinished, leave a note of caution (with the time on it) for the next unsuspecting

person!

Paint Storage and Prep (Room 383)

Supervisor: Geoff Bacchus, your class

instructor, or Practicum Monitor.

Access: Via ving-card lock, punch code, Geoff

George, Geoff Bacchus, class instructor,

or a Practicum Monitor.

What’s there? This space is for mixing paints and

completing small-scale painting projects.

There is a double sink for clean-up as well

as shelves with paints, glues, gloss, solvents, brushes, rollers sprayers, and other paint tools that

you may have never thought existed!

Using this Room: This room is usually used only by TP students. Use it only for small projects.

Safety: The paints you use may be toxic and flammable – use caution!!! ALWAYS CHECK THE LABEL

BEFORE USING SO THAT YOU KNOW A BIT ABOUT WHAT YOU ARE USING AND

THE FIRST AID PROCEDURES FOR IT. Always make sure that you have adequate ventilation

when painting. Some of the paints and solvents can cause skin, eye, or lung irritation, so cover up

as much as possible as is required – this may include wearing gloves, safety glasses, and a mask

(or respirator) which you are responsible for supplying for yourself.



Follow your WHMIS training! If using a new product, check the MSDS (Material Safety Data

Sheet). MSDSs are located in a binder in the Spray Booth (Room 282).

NOTE: Lids must be replaced on dye containers immediately and any dye

mixes must be labeled as such.

Once checked out, dyes may be dumped down the sink (with the water running).

Clean-up: Put cans and brushes back after using them. Make sure all lids are on tightly – to avoid drying out

of the materials and accidental spills.

!!! One time a student was showered with shellac and methyl-hydrate because she took down a full can with a loose lid. She had to spend the afternoon in the hospital getting her eyes washed out. !!!

When you are near the end of a paint or solvent, report it to Geoff Bacchus or the Practicum

Monitor, or leave a note. Dispose solvents, paints and rags in the proper containers. Solvent

soaked paper towels or rags are not to go into open garbage cans as some solvents are very

flammable, and just sitting in a garbage can may generate enough heat to spontaneously

combust! Paint remnants should not be dumped down the drain – check before disposing. If the

drain starts to run “slow," please check the paint trap before it is too late.



Spray Booth (Room 382)

Supervisor: Geoff Bacchus, your class

instructor, or Practicum Monitor.

Access: Via punch code, Geoff George, Geoff

Bacchus, George Griffiths, or a Practicum

Monitor.

What’s there? This room contains an industrial spray

booth, drying racks, flammable materials

storage and a clean-up sink. The room is a

shared space and at any time students from the Fine Arts program or the Design Studies program

may be using it.

Safety: The spray materials that you or other students may be using may be toxic and flammable. There is

a binder containing MSDS sheets for products approved for use. If you are using a product

unknown to you, read the warning labels on the product and check the MSDS sheet for that

product. Before using this room you must have been through a safety orientation. The use of

respirators is mandatory for all Theatre Production students using the spray booth.

NOTE: Students must supply their own respirator

masks. The University will furnish you with the

correct filter insert for the materials you are using.

Clean-up: Return spray cans to the flammable materials storage locker. Dispose of used solvents, paints and

rags in the proper containers. Solvent soaked paper towels or rags are not to go into open garbage

cans.



The Welding Shop (Room 383)

Supervisor: Geoff George, Geoff Bacchus,

your class instructor, or a Practicum

Monitor.

Access: Via ving-card lock, Geoff Bacchus, Geoff

George, your class instructor or a

Practicum Monitor.

Safety: The equipment in this room can be very

dangerous. Do not use the oxyacetylene

equipment or ANY other the equipment

before you have been trained! Wear old clothes that have covers over the pockets and are made of a tight weave natural fiber

(denim is a good choice), hard soled shoes (steel-toed shoes are required), leather gloves, eye

protection (THIS IS AN ABSOLUTE NECESSITY), ear plugs and leathers. Ensure water buckets

are filled before you start. Do you know where the fire extinguisher is located?

Be aware that hot objects are present in this room when work is being performed. Fire and burns are

a constant threat. Use disposable masks if a large amount of welding and grinding is taking place.

Always wear ear protection. Sound levels can be very high in this room.

Clean-up: Turn off all gas cylinders, pressure relieve the lines and regulators, put all tools away, turn off

the power at the welder controls and sweep up your grindings. Police for fires! Do not store

flammable materials in this room. Only put flammable garbage in designated trash containers.



The Audio Lab/Lighting Lab (Room 295)

Supervisor: Geoff George, Geoff Bacchus,

Wade Staples

Access: Via ving-card lock, punch code, and alarm

on door.

What’s there: The lab is used for audio and lighting

lectures and lab work. There is a project

workstation for student use located at the

back of the room. A second workstation

consisting of a Mackie analog mixer, Yamaha digital mixer and Apple G4 is used for

demonstrations and the equipment will vary within this station (it is also used for other courses

and projects at Centre for the Arts). Additional audio and lighting equipment is stored there for

demonstration and student use.

Using this room: Check the TP master schedule for class times. The rest of the time it is available for use on a first-

come, first-served basis. A weekly lab schedule is posted beside the door, and students can sign up

for a maximum two-hour block each day. It is advisable to work in pairs – this way you can help

each other learn! You can have food and coffee in the lecture area, but NEVER NEAR THE

EQUIPMENT!! Note: This is NOT a party room! Cranking the volume is strictly forbidden (other

classrooms are close – the walls are very thin acoustically speaking!)!

Safety: Most of the equipment has written

instructions – read and follow them.

Operator’s manuals for some of the

equipment are found in binders on the shelf

on the back wall of the room. When in

doubt – ask the instructor.

Clean up: Clean up after your work! Un-patch and

restore to normal any special setup you

may have created. Deposit food and

beverage containers in the garbage please.



“The Haar” (John L. Haar Theatre) & “The Lab” (Theatre Lab - Room 189)

The theatres are used by students from

other programs. Schedules are posted

showing the days and times when they are

booked for other uses. At least one

supervisor must be present when you are

using the theatre(s). The equipment in the

theatre is safe – it’s the people who try to

use it that are dangerous!!

Supervisors: Geoff George, Geoff

Bacchus or a Practicum Monitor.

Access: Geoff Bacchus or a Practicum Monitor.

The technicians may be given a set of keys and a ving-card for their use during the preparation and

performance of their show. They will receive these items from Geoff Bacchus.

NEVER PROP ANY DOORS OPEN THAT LEAD OUTSIDE THE BUILDING! Do not exit via the Emergency Doors except in the event of an EMERGENCY as these doors are alarmed.

Using the spaces: Consult schedules posted outside each space. To use the Haar check the white board beside the

door to Tech office. If you wish to schedule the space in the near future and no one is in the office

leave a note on the board.

Safety: Do not block or congest access to

backstage areas with scenery, furniture,

props or ladders; or any corridors/stairs to

the stage.

Keep all fire extinguishers, hoses and first

aid kits free of clutter. Have easy access to

them in case of emergency. Know where

exits, telephones, open flames and work

lights are located. Keep SL and SR fire

exits clean and free of congestion!



The theatre booth audio and lighting boards are

“off-limits” to unqualified students. Only

authorized (we do mean authorized) students are

permitted to work with the lighting circuitry,

dimmers etc., and with the rigging equipment, or to

enter the grid area above the stage. Arrange rigging

and flying to be done when no other work is being

done on the stage. Remember to empty your

pockets before going on the grid or up ladders. All

keys/tools required while working above the stage

should be secured to the worker. This is standard

theatre practice.

Clean-up: Leave it as you found it (or better). Don’t leave burnt lamps, gels, gobos, etc. which are not

installed in luminaires in the grid. These may fall. The roof vibrates!

Wardrobe (Room 481)

Supervisor: Geoff George, Geoff

Bacchus, your instructor or Practicum

Monitor.

Access:

Geoff George, Geoff Bacchus, your

instructor, Practicum Monitor, security, or

facilities.

What’s there?

This room has an industrial serger, a

number of digital and cabinet Bernina machines, Pfaff sewing machines, Elna sewing machines,

sergers, irons (including an industrial iron), cutting tables, shelves with materials, fabric, trims,

dress forms, and more. It is used for the wardrobe classes, and for working on projects and

costumes for shows.

Safety:

If you haven’t used a sewing machine before, or one of these, you should get some instruction.

The sessions from Footings help!

It is required that you wear safety glasses while operating the industrial serger!



Clean-up:

Leave this workspace tidy and clean. When using the steam irons, follow the posted instructions

regarding draining (Leave it dry and turned OFF!). The outlets for these irons are controlled by a

timer switch.

Wardrobe Storage (Room 330a) Supervisor: Geoff Bacchus

Access: Geoff George, Geoff Bacchus, or a

Practicum Monitor

What’s There: Clothes, shirts, jackets, pants, skirts,

dresses, hats, shoes, belts, jewellery, etc.

Clean-up: It is imperative that this area be kept clean and tidy at all times. It is primarily the

responsibility of the current wardrobe head to see that the storage room remains tidy and that any

costume piece being returned is put in the proper area.

The Props Room (Room 381)

Supervisor: Geoff Bacchus, your

instructor, or Practicum Monitor

Access: Geoff Bacchus, your instructor, or

Practicum Monitor

What’s there: This is a nice space to work on smaller

projects – it isn’t usually as busy as the

carpentry shop. There is also a vacuum

former for making masks etc. This is

where you work on props and work with a variety of materials such as clay, fiberglass, paper,

metals, plastics, wood, and foam.



Using this room: This room is used as a classroom and to build props for productions, usually at night or on the

weekends. Both sets of users must respect the projects of the other group. Label your work, put it

away, and clean up. Do not dump plaster or paints down the sink. If the sink is draining too

slowly check the filter-trap.

Safety: Again, steel-toed safety shoes and safety glasses are required. Dress simply and be prepared to get

dirty. Many volatile, flammable and toxic materials and processes are used here. In some instances

ventilation is not adequate for some procedures (e.g. only small fiberglass projects are allowed).

Again look at the labels before using the materials and/or ask about them! Use the same precaution

as for the paint room when working at the painting bench.

Clean-up: Put lids on all cans. Put projects on designated shelves. No food or drinks allowed in this room –

It is all too easy to accidently ingest toxic materials from dirty fingers.

Gel Room & Tech Office (Room 334)

Supervisor: Geoff Bacchus

Access: Geoff George, Geoff Bacchus, or a Practicum Monitor

What’s there: This one room is actually 4 small rooms in one. It is

located off stage right and accessible from both the side

stage and the central hallway. Inside you will find:

• A washroom with shower stall – apart from its

obvious use, this room also serves as a quick-change

area and small dressing room.

• The lock-up - This is a storage room that is used to

store equipment that, in the past, has grown legs and walked away.

The tech office – This office is for use by the various practicum monitors. It is the one

room that is off limits to students.



The gel room – this is the central

area and contains filing cabinets

and shelving for the storage of gel,

bulbs, spare parts, lamp

accessories, gobos, tape, twill and

just about anything else that is

needed for lighting and sound. A

cutting table is also provided for

the cutting and assembling of gel

and gobos.

Clean-up: It is imperative that this area be kept clean and

tidy at all times. Gels must be filed away, gobos returned to their storage boxes, in short,

everything in its place. The floor must be kept clear so that there are no tripping hazards for actors

making their way through to the washroom/dressing room.

Home Room (Room 191)

Supervisor: Geoff George

Access: The doors to this area are controlled via

punch code locks. The code will be

changed from time to time (usually at the

end of each school year).

What’s there?

This room acts as tech lounge, doubling as

a green room for theatre lab performances

where eating and drinking is allowed and noise level is reasonably unrestricted. A fridge,

microwave, coffee machine, kettle, toaster, and sofas are available.

Please take care of this space and the things in it. Having a home room is

a privilege, not a right. Remember, no other program in the school gets

one, so we are very lucky to have this room! Please keep it clean and

organized.



The Production Office (Room 480) Supervisors: Geoff George

Access: Ving-card lock, Geoff George, Production Crew Heads, and some second year TP students.

What’s there: The Production Office is a space

devoted to work on productions work

areas for the TD, PM, SM, and crew

heads. In the office, there is a plotter, 6

computers, a printer, and a drafting

table.

Please report any problems with the

computers or printers immediately to

Geoff George.

Low noise level is enforced in respect of

the work being done (especially phone

calls to suppliers).

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SECTION VIII: APPENDIX


SECTION VIII APPENDIX

Contents Theatre Terms 111 Telephone Numbers & University Address 112 Notes on the Contracts 113 Practicum Crew Head Evaluation Form 115

2012 - 2013 SECTION VIII

THEATRE PRODUCTION PRGROAM MANUAL Page 113

SECTION VIII 2011 - 2012

Theatre Terms Do you know what these terms mean? This common theatre jargon is important to you. Refer to the Backstage Handbook (a required text) to check your definitions.

Borders

Call

Catwalks

Downstage

Flats

Flys

Focusing

FOH - front of house

Grid

Hanging

House

House left

House right

Legs

Off-stage right

Off-stage left

Prompt script

Props

Rigging

Risers

Scrims

Set up

Sets

Stage left

Stage right

Strike

Teasers

Tormenters

Upstage

Wing

2011 – 2012 SECTION VIII


Phone Numbers – Contact Information

Phone calls from one University phone to another require only the last 4 digits. To reach an

outside line from a University phone, dial 9 then the number.

Prefix 780-497-

Geoff George 4409

Alana Broomfield 4408

Geoff Bacchus 4306

Doreen Piehl 4393

TD Office (Haar Side Stage) 4447

Carp Shop/Prop Shop 4471

Wardrobe 4475

Haar Stage 4472 *may be turned off

Haar Booth 4473 *may be turned off

Haar Dimmer Room 4475 *may be turned off

Haar House 4470 *may be turned off

191 Home Room ???? unknown at time of printing

480 Production office ???? unknown at time of printing

189 Theatre Lab 6407 *may be turned off

261 Audio Lab 6411

191 Theatre Lab storage 4328

Centre for the Arts FAX 4330

Centre for the Arts Switchboard 4340

Library 4346

Facilities 4343

Security (emergency) 5555

Registrar’s Office 5040

Counselor 4334

Students' Association 4444

Mailing Address

P.O. Box 1796 or 10045-156 Street

Edmonton, Alberta Edmonton, Alberta

T5J 2P2 T5P 2P7



Notes on the Contracts

In the past we used what we called the “yellow” sheets for monitors to use to evaluate 2nd

year

student performance in practicum. The sheets were generic and did not take into account the

different requirements of the various positions.

It was requested that each instructor come up with a specific list of duties for each department head

and management position. These lists formed a basis for the creation of position contracts that the

students enter into when they take up a practicum position. In some ways the list(s) are generic to a

position and so may not clearly define the position requirement for a MacEwan show; for example

the duties of the lighting head were written so that they could apply to almost any venue. Because

of this, there can be times when items contained in the lists are not relevant to the production the

student is working on.

The lists are helpful to both the students and the monitors in that they represent a checklist students

can reference to understand what is expected of them, and the monitor can measure the student’s

success in accomplishing the various tasks listed.

In addition to the specific duties and tasks referenced in the position contracts, there is a second list

of items that are common to all departmental head positions. This contract is titled Department

Head General Duties, and contains 21 criteria that the student is measured against. The production

manager, technical director and stage manager are not required to present this contract to their

evaluator; their position contracts are all self-contained.

The number of items contained in the lists varies widely from position to position. The smallest

number of items is 13, the largest number is 28. Because of this, it was necessary to come up with a

mechanism to level the playing field for evaluation. Each criterion is awarded a mark between 0

and 4 on a continuous scale; 4 being a perfect score. Instructions on how to determine the final

contract mark is included in the header of each document.

We are retiring the old “yellow” sheets

MONITORS: It is important that each student department head and manager approach his or her

monitor at the start of practicum and hands over the contract documents. As a monitor you must

insist on having these documents in your possession at the start. As the practicum experience

proceeds, monitors can award points to items as they are completed; for example, item #2 in the

lighting head contract is “prepares hanging cards”. This should be marked at the beginning of the

hang when the hanging cards are used. Some items in the contract might need to be marked by

another. For example, item #7 in the Department Head General Duties is “attends all production

meetings and gives accurate and complete progress reports”; the monitor would not know this, but

Geoff G or Geoff B would. Consult as necessary.

NOTE: the number of criteria does not equate to

work load. A person being marked on 15 criteria is

not doing less work than a person being marked on

20, and vice versa.



Below is a table monitors can reference to know what documents are required by each position.

PLEASE READ OVER THE GENERAL AND SPECIFIC DUTIES. IF YOU FEEL

CHANGES ARE REQUIRED, PLEASE LET ME KNOW BEFORE I START PRINTING

THE DOCUMENTS OUT.

POSITION REQUIRED DOCUMENTS

Production

Manager

2012 Production Manager

Technical Director 2012 Technical Director

Stage Manager 2012 Stage Manager

Design Assistant 2012 Design Assistant

Theatre Lab Tech 2012 Theatre Lab Technician

Wardrobe Tech 2012 Wardrobe Technician

Head of Audio 2012 Audio Head + Depart Head General Duties

Head of Carpentry 2012 Head Scenic Carpenter - Stage Carpenter + Depart Head General

Duties

Head of Lighting 2012 Head Lighting Technician + Depart Head General Duties

Head of Paint 2012 Head Painter + Depart Head General Duties

Head of Properties 2012 Props Head + Depart Head General Duties

Head of Wardrobe 2012 Wardrobe Head + Depart Head General Duties



Practicum Crew Head Evaluation Form (to be completed by Monitor) Audio Head

Student___________________________ Production_________________________ The Following Applies: 4 perfect (A+) 3.5 outstanding (A) 3 good to very good (B) 2.5 adequate (C) 2 Poor (D) <2 Inadequate (F) Instructions to evaluators: There are up to 16 position specific criteria by which the audio head is evaluated. Depending on the show, the head may or may not be required to perform some of the functions. If your head wasn’t required to perform say, number 8, then a n/a is acceptable. To determine the total mark, add up the values of each criteria marked, divide by the number of criteria times 4 and convert this to a mark out of 100. The maximum possible mark for a audio head is 64/64.

Example, student earns 42 marks in 12 criteria, 42 / (12 x 4) = 42/48 = 87.5% Average the position specific mark with the General Duties mark


1. The Sound Department Head is responsible for all sound effects, mechanical or recorded, and for operating the sound console for live sound reinforcement.

2. Works with the college equipment and keeps a record of the status of that equipment.

3. Assigns specific duties to the crew members.

4. Meets with the Technical Director/Sound Designer/Director regarding the treatment of sound and music in the production: actual sound, recorded sound, actual music, recorded music, pre-show music, intermission and post-show music. If musicians are used, makes arrangements with director to be present at rehearsals.

5. Makes a list of all sound and music effects needed and how to obtain them. Knows what equipment is available and what can be used as back-up.

6. Supervises all work of the Sound Crew, ensuring that all plans are executed and that the deadlines are met. Is present for recording sessions.

These numbers are a guide. You may assign any mark you wish between 0 and 4; for example 3.8



7. Familiarizes the crew with the work schedule, operation of equipment and any safety regulations they should know.

8. Makes no changes to sound plan without Director’s, Technical Director’s and Sound Designer's approval.

9. Makes a detailed and complete sound and music cue sheet in collaboration with the Stage Manager. Lists the placement of sound and music material on and off stage.

10. Makes a written instructional sheet and/or interconnection diagram of the sound patching for the production.

11. Makes a detailed written or diagrammatic record of the complete working status of all equipment used in the show, especially the console, any equalizers, and any effects used.

12. Backs up all final copies of the show master media and keeps back-up in a safe place.

13. Checks all sound and music equipment at least one hour before curtain time.

14. After each performance, stores all sound equipment in designated storage areas. Double checks to see that all equipment is secured and locked up. Returns all borrowed media and equipment the first week day after the close. Gives recorded media to the Technical Director.

15. Turns in crew report if required.

16. Sets up the communication system and ensures it is correctly functioning prior to each show.

Contractual obligations include punctuality, attendance according to the schedule, and so on. A full explanation of contractual obligations may be found in Section four and five of the Theatre Production Manual.

Position Specific Marks: (a)

Total Criteria x4 = (b)

a ÷ b = x 100 = %

General Duties Mark: (a)

Position Specific Mark: (b)

Average: (a + b) ÷ 2 = %

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